-NRLF 


SHAKSPERE 

JULIUS 
CAESAR 

NEILSON 


f  SY 


General  Editor 
LINDSAY  TODD  DAMON 

Professor  of  English,   Brown   University 


ADDISON    AND    STEELE — Sir   Roger    de    Coverly   Papers — 

ABBOTT 
ADDISON    AND    STEELE — Selections   from    The    Taller    and 

The  Spectator — ABBOTT 
American  Short  Stories — ROYSTER 
AUSTIN — Pride   and  Prejudice — WARD 
BROWNING — Selected  Poems — REYNOLDS 
Builders  of  Democracy — GREEN  LAW 
BUNYAN — The  Pilgrim's  Progress — LATHAM 
BURKE — Speech    on    Conciliation    with    Collateral    Readings — • 

WARD 

BURNS — Selected  Poems  \  1        ,       MAKS-T 

CARLYLE—  Essay  on  Burns  $  l  ™1.— MARS.I 
CHAUCER — Selections — GREENLAW 
COLERIDGE — The  Ancient  Mariner  \  .,        ,       Mftrmv 
LOWELL—  Vision  of  Sir  Launfal        $  X   vol.— MOODI 
COOPER — The  Last  of  the  Mohicans — LEWIS 
COOPER — The  Spy — DAMON 

DANA — Two  Tears  Before  the  Mast — WESTCOTT 
DEFOE — Robinson   Crusoe — HASTINGS 
Democracy  Today — GAUSS 

DE  QUINCEY — The  Flight  of  a  Tartar  Tribe — FRENCH 
DE   QUINCEY — Joan  of  Arc  and  Selections — MOODY 
DICKENS — A  Christmas  Carol,  etc. — BROADUS 
DICKENS — A   Tale  of  Two  Cities — BALDWIN 
DICKENS — David  Copper  field — BALDWIN 
DRYDEN — Palamon  and  Arcite — COOK 
ELIOT,    GEORGE — Silas   Marner — HANCOCK 
ELIOT,    GEORGE — The  Mill  on  the  Floss— WARD 
EMERSON — Essays  and  Addresses— HEYDRICK 
English    Poems — From    POPE,    GRAY,    GOLDSMITH,     COLERIDGE, 

BYRON,   MACATJLAY,   ARNOLD,   and  others — SCUDDER 
English  Popular  Ballads — HART 
Essays — English  and  American — ALDEN 
Familiar  Letters,  English  and  American — GREENLAW 
FRANKLIN — Autobiography — GRIFFEN 
French  Short  Stories — SCHWEIKERT 
GASKELL  (Mrs.) — Cranford — HANCOCK 
GOLDSMITH — The  Vicar  of  Wakefield — MORTON 
HAWTHORNE — The  House  of  the  Seven  Gables — HERRICK 
HAWTHORNE — Twice-Told  Tales — HERRICK   AND    BRUERE 
HUGHES — Tom  Brown's  School  Days — DE  MILLF 
IRVING — Life   of   Goldsmith — KRAPP 
IRVING — The  Sketch  Book — KRAPP 


Hafee  Cnsltef)  Cla££ic£—  continue* 


IRVING  —  Tales  of  a  Traveller  —  and  parts  of  The  Sketch  Book  —  KRAPP 
LAMB  —  Essays  of  Elia—  BENEDICT 
LONGFELLOW  —  Narrative  Poems—  POWELL 
LOWELL  —  Vision  of  Sir  Launfal—See  Coleridge 
MACAULAY  —  Essays  on  Addtson  and  Johnson  —  NEWCOMER 
MACAULAY  —  Essays  on  Clive  amd  Hastings—  NEWCOMER 
MACAULAY  —  Goldsmith,  Frederic  the  Great,  Madame  D'Arblay—  NEW- 

COMER 

MACAULAY  —  Essays  on  Milton  and  Addison  —  NEWCOMER 
MILTON  —  L'  Allegro,  II  Penseroso,  Comus,  and  Lycidas—  NEILBON 
MILTON  —  Paradise  Lost,  Books  I  and  II  —  FARLEY 
Modern  Plays,  A  Book  of—  COFFMAN 
Old  Testament  Narratives  —  RHODES 
One  Hundred  Narrative  Poems  —  TETER 
PALGRAVE  —  The  Golden  Treasury  —  NEWCOMER 
PAR  KM  AN  —  The  Oregon  Trail—  MACDONALD 
POE  —  Poems  and  Tales,  Selected  —  NEWCOMER 

POPE—  Homer's  Iliad,  Books  I,  VI,  XXII,  XXIV—  CRES8Y  AND  MOODY 
READE  —  The  Cloister  and  the  Hearth  —  DE  MlLLE 
RUSKIN—  Sesame  and  Lilies—  LlNN 
Russian  Short  Stories—  SCHWEIKERT 
SCOTT  —  Lady  of  the  Lake—  MOODf 

SCOTT  —  Lay  of  the  Lust  Minstrel  —  MOODY  AND  WlLLARD 
SCOTT—  Marmion—  MOODY  AND  WlLLARD 
SCOTT  —  Ivanhoe  —  SlMONDS 
SCOTT  —  Quentin  Durward  —  SlMONDS 

Selections  from  the  Writings  of  Abraham  Lincoln  —  HAMILTON 
SHAKSPERE—  The  Neilson  Edition—  Edited,  by  W.  A.  NEILSON, 

As  You  Like  It  Macbeth 

Hamlet  Midsummer-Night's  Dream 

Henry  V  Romeo  and  Juliet 

Julius  Caesar  The  Tempest 

Twelfth  Night 

SHAKSPERE—  The  Merchant  of  Venice—  LOVETT 
SOUTHEY  —  Life  of  Nelson—  WESTCOTT 

STEVENSON  —  Inland  Voyage  and  Travels  with  a  Donkey—  LEONARD 
STEVENSON  —  Kidnapped  —  LEONARD 
STEVENSON  —  Treasure  Island—  BROADUS 
TENNYSON  —  Selected  Poems  —  REYNOLDS 
TENNYSON—  The  Princess—  COPELAND 
THACKERAY  —  English  Humorists  —  CUNLIFFE  AND  WATT 
THACKERAY—  Henry  Esmond—  PHELPS 
THOREAU—  WaW«n—  BOWMAN 
Three  American  Poems  —  The     Raven,    Snow-Bound,     Miles    Standish— 

GREEVER 

Types  of  the  Short  Story  —  HEYDRICK 
VIRGIL  —  Aeneid  —  ALLIN8ON  AND  ALLINSON 
Washington,  Webster,  Lincoln,  Selections  from  —  DENNEY 

SCOTT,    FORESMAN    AND    COMPANY 
CHICAGO  ATLANTA  NEW  YORK 


Hafec  Cngltsii) 


REVISED  EDITION  WITH  HELPS  TO  STUDY 

SHAKSPERE'S 

JULIUS  G^SAR 


EDITED  BY 

WILLIAM  ALLAN  NEILSON 

PRESIDENT  SMITH    COLLEGE 


SCOTT,  FORESMAN  AND  COMPANY 
CHICAGO  ATLANTA  NEW  YORK 


CASE 


COPYRIGHT  1901,  1919 
BY  SCOTT,  FORESMAN  AND  COMPANY 

302.39 


TO    2.04  5 >' 
A 


PEEFACE. 

The  aim  in  the  present  volume,  as  in  the  others 
of  the  series,  is  to  present  a  satisfactory  text  with 
as  full  an  equipment  of  introduction  and  notes  as 
is  necessary  for  thorough  intelligibility.  The  sec- 
tion of  the  introduction  dealing  with  Shakspere 
and  the  drama  is  intended  to  give  the  student  a 
clear  idea  of  the  place  of  the  play  in  literary  his- 
tory. The  treatment  of  the  relation  of  Shaks- 
pere's  Julius  Caesar  to  North's  Plutarch  is  an 
attempt  to  solve  a  difficulty  which  meets  the 
editor  of  any  of  the  Roman  plays;  A  mere  state- 
ment of  indebtedness  fails  to  convey  a  true  idea 
of  the  real  facts  of  the  case;  and  the  reprinting 
of  the  whole  text  of  which  Shakspere  availed  him- 
self does  not  explain  the  situation  without  much 
detailed  study.  The  comparative  table  given  oi/ 
pp.  40-42  tells  much  at  a  glance ;  and  the  teacher 
who  wishes  to  illustrate  further  Shakspere's  use 
of  his  material  will  find  it  easy  to  do  so  by  means 
of  the  references  to  Skeat's  Shakespeare's  Plutarch, 
a  book  which  every  teacher  of  the  play  should 
have  at  hand.  The  sections  on  language  and 
metre  present  some  of  the  peculiarities  of  Shaks- 
pere's  English  and  versification  in  a  more  system- 
atic fashion  than  is  possible  in  separate  notes. 

863504 


0  PREFACE, 

The  task  of  aesthetic  interpretation  has  been, 
for  the  most  part,  left  to  the  teacher;  yet  it  may 
be  pointed  out  that  this  play  offers  exceptionally 
good  opportunities  for  explaining  the  elements  of 
dramatic  construction.  The  action  in  Julius 
Caesar  is  less  complicated  than  in  most  of  Shaks- 
pere's  other  tragedies;  there  is  no  under  plot;  and 
the  rise  and  fall  of  the  action,  up  to  the  climax 
in  Caesar's  death  and  down  to  the  catastrophe  at 
Philippi,  is  easily  traced.  If  we  regard  the  tragedy 
as  a  conflict  between  the  party  of  conspirators  and 
the  party  of  Caesar,  we  see  that  the  movement 
which  culminates  m  the  assassination  deals  with 
the  triumph  of  the  former;  while  in  the  second 
part,  the  friends  of  Caesar,  deprived  of  his  pres- 
ence but  animated  by  his  spirit,  avenge  his  death 
on  his  murderers.  This  final  triumph  of  Caesar's 
faction,  the  acknowledgement  by  Brutus  that  it  is 
the  spirit  of  Caesar  that  brings  disaster  on  the 
conspirators,  and  the  obvious  advertising  value  of 
the  name  of  Caesar  in  a  title,  seem  sufficient  to 
answer  the  much  debated  question  as  to  why 
Shakspere  called  the  play  Julius  Caesar  and  not 
Marcus  Brutus. 

The  admirably  conceived  contrasts  of  character, 
and  the  elaboration  of  these  from  Plutarch's 
hints,  should  give  rise  to  suggestive  discussion, 
oral  or  written.  The  play  as  a  whole,  while  not 
reaching  the  pitch  of  intensity  in  feeling  and 
expression  of  the  greatest  of  Shakspere's  trag 


PREFACE.  7 

edies,  is  less  concentrated  and  difficult  in  style 
than,  for  example,  Hamlet  or  Lear,  while  its 
rhetorical  brilliance  easily  arouses  the  enthusiasm 
of  even  the  younger  students. 

Attention  might  profitably  be  drawn  to  the 
political  significance  of  the  play.  The  hopeless- 
ness of  curing  national  degeneracy  by  the  removal 
of  any  one  man,  and  the  total  failure  of  the 
populace  to  see  the  aim  of  the  conspirators'  action, 
are  most  pointedly  expressed  in  the  shout  of  the 
Third  Citizen  after  the  republican  speech  of 
Brutus, — "Let  him  be  Caesar." 

For  further  details  on  the  life  and  works  of 
Shakspere,  the  following  may  be  referred  to: 
Dow-den's  Shakspere  Primer  and  Shakspere,  His 
Mind  and  Art;  Sidney  Lee's  Life  of  William 
Shakespeare;  William  Shakspere,  by  Barrett  Wen- 
dell; Shakspere  and  His  Predecessors,  by  F.  S. 
Boas.  The  most  exhaustive  account  of  the  Eng- 
lish Drama  is  the  new  three-volume  edition  of  A.  W. 
Ward's  History  of  English  Dramatic  Literature. 
Both  this  work  and  that  of  Sidney  Lee  are  rich  in 
bibliographical  information.  For  questions  of 
language  and  grammar,  see  A.  Schmidt's  Shakes- 
peare Lexicon;  J.  Bartlett's  Concordance  to 
Shakespeare;  E.  A.  Abbott's  Shakespearian 
Grammar;  and,  for  philological  commentary  on 
the  present  play  in  particular,  Eolfe's  edition  of 
Craik's  English  of  Shakespeare.  For  general  ques- 
tions of  dramatic  construction,  see  Gustav  Frey- 


8  PREFACE. 

tag's  Technik  des  Dramas,  translated  into  English 
by  E.  J.  MacEwan,    and   Dr.    Elisabeth   Wood- 
bridge's  The  Drama,  its  Law  and  its  Technique, 
HARVARD 

May,  1901, 


CONTENTS 

PAGE 

PREFACE  .        .        

INTRODUCTION 

I.     Shakspere  and  the  English  Drama     .         .  11 

II.     Julius  Caesar 29 

TEXT 

NOTES 159 

WORD  INDEX 

APPENDIX 

Helps  to  Study 19? 

Theme  Subjects 201 

Selections  for  Class  Heading      .         .         .         .203 


INTRODUCTION. 

1.       SHAKSPERE    AND   THE    ENGLISH    DRAMA 

The  wonderful  rapidity  of  the  development  of 
the  English  drama  in  the  last  quarter  of  the  six-' 
teenth  century  stands  in  striking  contrast  to  the 
slowness  of  its  growth  before  that  period.  The 
religious  drama,  out  of  which  the  modern  dramatic 
forms  were  to  spring,  had  dragged  through  centu- 
ries with  comparatively  little  change,  and  was  still 
alive  when,  in  1576,  the  first  theatre  was  built  in 
London.  By  1600  Shakspere  had  written  more 
than  half  his  plays  and  stood  completely  master  of 
the  art  which  he  brought  to  a  pitch  unsurpassed 
in  any  age.  Much  of  this  extraordinary  later 
progress  was  due  to  contemporary  causes;  but 
there  entered  into  it  also  certain  other  elements 
which  can  be  understood  only  in  the  light  of  the 
attempts  that  had  been  made  in  the  three  or  four 
preceding  centuries. 

In  England,  as  in  Greece,  the  drama  sprang  from 
religious  ceremonial.  The  Mass,  the  centre  of 
The  Drama  ^e  P11^0  worship  of  the  Roman 
before  church,  contained  dramatic  mate- 

Shakspere. 


ating  priests,  in  the  narratives  contained  in  the 

Lessons,  and  in  the  responsive  singing  and  chant- 

1) 


12  • ; ;  t, ' .      INTRODUCTION. 

ing.  Latinr,*tbq  .language  m  which  the  services 
were  cto'nductJed,' was  unintelligible  to  the  mass  of 
the  people,  and  as  early  as  the  fifth  century  the 
clergy  had  begun  to  use  such  devices  as  tableaux 
vivants  of  scenes  like  the  marriage  in  Cana  and 
the  Adoration  of  the  Magi  to  make  comprehen- 
sible important  events  in  Bible  history.  Later, 
the  Easter  services  were  illuminated  by  repre- 
sentations of  the  scene  at  the  sepulchre  on  the 
morning  of  the  Eesurrection,  in  which  a  wooden, 
and  afterwards  a  stone,  structure  was  used  for  the 
tomb  itself,  and  the  dialogue  was  chanted  by  differ- 
ent speakers  representing  respectively  the  angel, 
the  disciples,  and  the  women.  From  such  begin- 
nings as  this  there  gradually  evolved  the  earliest 
forms  of  the  MIRACLE  PLAY. 

As  the  presentations  became  more  elaborate, 
the  place  of  performance  was  moved  first  to  tho 
churchyard,  then  to  the  fields,  and  finally  to  the 
streets  and  open  spaces  of  the  towns.  With  this 
change  of  locality  went  a  change  in  the  language 
a,nd  in  the  actors,  and  an  extension  of  the  field  from 
which  the  subjects  were  chosen.  Latin  gave  way 
to  the  vernacular,  and  the  priests  to  laymen;  and 
miracle  plays  representing  the  lives  of  patron 
saints  were  given  by  schools,  trade  gilds,  and 
other  lay  institutions.  A  further  development 
appeared  when,  instead  of  single  plays,  whole 
series  such  as  the  extant  York,  Chester,  and 
Coventry  cycles  were  given,  dealing  in  chrono- 


SHAKSPERE  AND  ENGLISH  DRAMA.        13 

logical  order  with  the  most  important  events  in 
Bible  history  from  the  Creation  to  the  Day  of 
Judgment. 

The  stage  used  for  the  miracle  play  as  thus 
developed  was  a  platform  mounted  on  wheels, 
which  was  moved  from  space  to  space  through 
the  streets.  Each  trade  undertook  one  or  more 
plays,  and,  when  possible,  these  were  allotted  with 
reference  to  the  nature  of  the  particular  trade. 
Thus  the  play  representing  the  visit  of  the  Magi 
bearing  gifts  to  the  infant  Christ  was  given  to  the 
goldsmiths,  and  the  Building  of  the  Ark  to  the 
carpenters.  The  costumes  were  conventional  and 
frequently  grotesque.  Judas  always  wore  red 
nair  and  a  red  beard ;  Herod  appeared  as  a  fierce 
Saracen ;  the  devil  had  a  terrifying  mask  and  k 
tail ;  and  divine  personages  wore  gilt  hair. 

Meanwhile  the  attitude  of  the  church  towards 
these  performances  had  changed.  Priests  were 
forbidden  to  take  part  in  them,  and  as  early  as 
the  fourteenth  century  we  find  sermons  directed 
against  them.  The  secular  management  had  a 
more  important  result  in  the  introduction  of 
comic  elements.  Figures  such  as  Noah's  wife  and 
Herod  became  frankly  farcical,  and  whole  episodes 
drawn  from  contemporary  life  and  full  of  local 
color  were  invented,  in  which  the  original  aim 
of  edification  was  displaced  by  an  explicit  attempt 
at  pure  entertainment.  Most  of  these  features 
»vere  characteristic  of  the  religious  drama  in  gen- 


14  .         INTRODUCTION. 

eral  throughout  Western  Europe.  But  the  local 
and  contemporary  elements  naturally  tended  to 
become  national ;  and  in  England  we  find  in  these 
humorous  episodes  the  beginnings  of  native 
comedy. 

Long  before  the  miracle  plays  had  reached  their 
height,  the  next  stage  in  the  development  of  the 
drama  had  begun,,  Even  in  very  early  performances 
there  had  appeared,  among  the  dramatis  personae 
drawn  from  the  Scriptures,  personifications  of 
abstract  qualities  such  as  Eighteousness,  Peace, 
Mercy,  and  Truth.  In  the  fifteenth  century  this 
allegorical  tendency,  which  was  prevalent  also  in 
the  non-dramatic  literature  of  the  age,  resulted  in 
the  rise  of  another  kind  of  play,  the  MORALITY, 
in  which  all  the  characters  were  personifications, 
and  in  which  the  aim,  at  first  the  teaching  of 
moral  lessons,  later  became  frequently  satirical. 
Thus  the  most  powerful  of  all  the  Moralities, 
Sir  David  Lindesay's  Satire  of  the  Three  Estates, 
is  a  direct  attack  upon  the  corruption  in  the 
church  just  before  the  Keformation. 

The  advance  implied  in  the  Morality  consisted 
not  so  much  in  any  increase  in  the  vitality  of  the 
characters  or  in  the  interest  of  the  plot  (in  both 
of  which,  indeed,  there  was  usually  a  falling  off), 
as  in  the  fact  that  in  it  the  drama  had  freed 
itself  from  the  bondage  of  having  to  choose  its 
subject  matter  from  one  set  of  sources — the 
Bible,  the  Apocrypha,  and  the  Lives  of  the  Saints. 


SHAKSPERE  AND  ENGLISH  DRAMA.       15 

This  freedom  was  shared  by  the  INTERLUDE,  a 
form  not  always  to  be  distinguished  from  the 
Morality,  but  one  in  which  the  tendency  was  to 
substitute  for  personified  abstractions  actua) 
social  types  such  as  the  Priest,  the  Pardoner,  or 
the  Palmer.  A  feature  of  both  forms  was  the 
Vice,  a  humorous  character  who  appeared  under 
the  various  disguises  of  Hypocrisy,  Fraud,  and 
the  like,  and  whose  function  it  was  to  make  fun, 
chiefly  at  the  expense  of  the  Devil.  The  Vice 
is  historically  important  as  having  bequeathed 
some  of  his  characteristics  to  the  Fool  of  the  later 
drama. 

John  llVywood,  the  most  important  writer  of 
Interludes,  lived  wei"  into  the  reign  of  Elizabeth, 
and  even  the  miracle  play  persisted  into  the 
reign  of  her  successor  in  the  seventeenth  cen- 
tury. .  But  long  before  it  finally  disappeared 
it  had  become  a  mere  medieval  survival.  A  new 
England  had  meantime  come  into  being  and  new 
forces  were  at  work,  manifesting  themselves  in  a 
dramatic  literature  infinitely  beyond  anything 
even  suggested  by  the  crude  forms  which  have 
been  described. 

The  great  European  intellectual  movement 
known  as  the  Kenaissance  had  at  last  reached 
England,  and  it  brought  with  it  materials  for  an 
unparalleled  advance  in  all  the  living  forms  of 
literature.  Italy  and  the  classics,  especially, 
supplied  literary  models  and  material.  Not  only 


16  INTRODUCTION. 

were  translations  from  these  sources  abundant, 
but  Italian  players  visited  England,  and  per- 
formed before  Queen  Elizabeth.  France  and 
Spain,  as  well  as  Italy,  flooded  the  literary  mar- 
ket with  collections  of  tales,  from  which,  both  in 
the  original  languages  and  in  such  translations  as 
are  found  in  Paynter's  Palace  of  Pleasure  (pub- 
lished 1566-67),  the  dramatists  drew  materials 
for  their  plots. 

These  literary  conditions,  however,  did  not  do 
much  beyond  offering  a  means  of  expression. 
For  a  movement  so  magnificent  in  scale  as  that 
which  produced  the  Elizabethan  Drama,  some- 
thing is  needed  besides  models  and  material.  In 
the  present  instance  this  something  is  to  be  found 
in  the  state  of  exaltation  which  characterized  the 
spirit  of  the  English  people  in  the  days  of  Queen 
Elizabeth.  Politically,  the  nation  was  at  last  one 
after  the  protracted  divisions  of  the  Eeformation, 
and  its  pride  was  stimulated  by  its  success  in  the 
fight  with  Spain.  Intellectually,  it  was  sharing 
with  the  rest  of  Europe  the  exhilaration  of  the 
Eenaissance.  New  lines  of  action  in  all  parts  of 
the  world,  new  lines  of  thought  in  all  depart- 
ments of  scholarship  and  speculation,  were  open- 
ing up ;  and  the  whole  land  was  throbbing  with 
life. 

In  its  very  beginnings  the  new  movement  in  Eng- 
land showed  signs  of  that  combination  of  native 
tradition  and  foreign  influence  which  was  to  char- 


SHAKSPERE  AND  ENGLISH  DRAMA.         17 

acterize  it  throughout.  The  first  regular  English 
comedy,  Udall's  Ralph  Roister  Doister  was  an 
adaptation  of  the  plot  of  the  Miles  Gloriosus  of 
Plautus  to  contemporary  English  life.  After  a 
short  period  of  experiment  by  amateurs  working 
chiefly  under  the  influence  of  Seneca,  we  come  on 
a  band  of  professional  playwrights  who  not  only 
prepared  the  way  for  Shakspere,  but  in  some 
instances  produced  works  of  great  intrinsic  worth. 
The  mythological  dramas  of  Lyly  with  the  bright 
repartee  of  their  prose  dialogue  and  the  music  of 
their  occasional  lyrics,  the  interesting  experiments 
of  Greene  and  Peele,  and  the  horrors  of  the 
tragedy  of  Kyd,  are  all  full  of  suggestions  of  what 
was  to  come.  But  by  far  the  greatest  of  Shaks- 
pere's  forerunners  was  Christopher  Marlowe,  who 
not  only  has  the  credit  of  fixing  blank  verse  as  the 
future  poetic  medium  for  English  tragedy,  but 
who  in  his  plays  from  Tamburlaine  to  Edward  II. 
contributed  to  the  list  of  the  great  permanent 
masterpieces  of  the  English  drama. 

It  was  in  the  professional  society  of  these  men 
that  Shakspere  found  himself  when  he  came  to 

London.  Born  in  the  provincial 
EarikyTife.8  town  of  Stratford-on-Avon  in  the 

heart  of  England,  he  was  bap- 
tized on  April  26,  1564  (May  6th,  according  to 
our  reckoning).  The  exact  day  of  his  birth  is 
unknown.  His  father  was  John  Shakspere,  a 
fairly  prosperous  tradesman,  who  mav  be  °upposed 


18  INTRODUCTION. 

to  have  followed  the  custom  of  his  class  in  edu« 
eating  his  son.  If  this  were  so,  William  would  be 
sent  to  the  Grammar  School,  already  able  to 
read,  when  he  was  seven,  and  there  he  would  be 
set  to  work  on  Latin  Grammar,  followed  by  read- 
ing, up  to  the  fourth  year,  in  Cato's  Maxims, 
Aesop's  Fables,  and  parts  of  Ovid,  Cicero,  and 
the  medieval  poet  Mantuanus.  If  he  continued 
through  the  fifth  and  sixth  years,  he  would  read 
parts  of  Vergil,  Horace,  Terence,  Plautus,  and 
the  Satirists.  Greek  was  not  usually  taught  in 
the  Grammar  Schools.  Whether  he  went  through 
this  course  or  not  we  have  no  means  of  knowing, 
except  the  evidence  afforded  by  the  use  of  the 
classics  in  his  works,  and  the  famous  dictum  of 
his  friend,  Ben  Jonson,  that  he  had  "  small 
Latin  and  less  Greek."  What  we  are  sure  of  is 
that  he  was  a  boy  with  remarkable  acuteness  of 
observation,  who  used  his  chances  for  picking  up 
facts  of  all  kinds;  for  only  thus  could  he  have 
accumulated  the  fund  of  information  which  he 
put  to  such  a  variety  of  uses  in  his  writings. 

Throughout  the  poet's  boyhood  the  fortunes  of 
John  Shakspere  kept  improving  until  he  reached 
the  position  of  High  Bailiff  or  Mayor  of  Stratford. 
When  William  was  about  thirteen,  however,  his 
father  began  to  meet  with  reverses,  and  these  are 
conjectured  to  have  led  to  the  boy's  being  taken 
from  school  early  and  set  to  work.  What  business 
he  was  taught  we  do  not  know,  and  indeed  we 


SHAKSPERE  AND  ENGLISH  DRAMA        ,19 

have  little  more  information  about  him  till  the 
date  of  his  marriage  in  November,  1582,  to  Anne 
Hathaway,  a  woman  from  a  neighboring  village, 
who  was  seven  years  his  senior.  Concerning  his 
occupations  in  the  years  immediately  preceding 
and  succeeding  his  marriage  several  traditions 
have  come  down, — of  his  having  been  apprenticed 
as  a  butcher,  of  his  having  taken  part  in  poaching 
expeditions,  and  the  like — but  none  of  these  is 
based  upon  sufficient  evidence.  About  1585  he 
left  Stratford,  and  probably  by  the  next  year  he 
had  found  his  way  to  London. 

How  soon  and  in  what  capacity  he  first  became 
attached  to  the  theatres  we  are  again  unable  to 
say,  but  by  1592  he  had  certainly  been  engaged 
in  theatrical  affairs  long  enough  to  give  some 
occasion  for  the  jealous  outburst  of  a  rival  play- 
wright, Robert  Greene,  who,  in  a  pamphlet 
posthumously  published  in  that  year,  accused  him 
of  plagiarism.  Henry  Chettle,  the  editor  of 
Greene's  pamphlet,  shortly  after  apologized  for  his 
connection  with  tae  charge,  and  bore  witness  to 
Shakspere's  honorable  reputation  as  a  man  and  to 
his  skill  both  as  an  actor  and  a  dramatist. 

Robert  Greene,  who  thus  supplies  us  with  the 
earliest  extant  indications  of  his  rival's  presence 
in  London,  was  in  many  ways  a  typical  figure  among 
the  playwrights  with  whom  Shakspere  worked 
during  this  early  period.  A  member  of  both 
universities,  Greene  came  to  the  metropolis  while 


20  INTRODUCTION. 

yet  a  young  man,  and  there  led  a  life  of  the  most 
diversified  literary  activity,  varied  with  bouts  of 
the  wildest  debauchery.  He  was  a  writer  of 
satirical  and  controversial  pamphlets,  of  romantic 
tales,  of  elegiac,  pastoral,  and  lyric  poetry,  a 
translator,  a  dramatist, — in  fact,  a  literary  jack- 
of -all-trades.  The  society  in  which  he  lived  con- 
sisted in  part  of  "University  Wits"  like  himself, 
in  part  of  the  low  men  and  women  who  haunted 
the  vile  taverns  of  the  slums  to  prey  upon  such  as 
he.  "A  world  of  blackguardism  dashed  with 
genius,"  it  has  been  called,  and  the  phrase  is  fit 
enough.  Among  such  surroundings  Greene  lived, 
and  among  them  he  died,  bankrupt  in  body  and 
estate,  the  victim  of  his  own  ill-governed  passions. 
In  conjunction  with  such  men  as  this  Shakspere 
began  his  life-work.  His  first  dramatic  efforts 
were  made  in  revising  the  plays  of  his  predeces- 
sors with  a  view  to  their  revival  on  the  stage ;  and 
in  Titus  Andronicus  and  the  first  part  of  Henry 
VI.  we  have  examples  of  this  kind  of  work. 
The  next  step  was  probably  the  production  of 
plays  in  collaboration  with  other  writers,  and  to 
this  practice,  which  he  almost  abandoned  in  the 
middle  of  his  career,  he  seems  to  have  returned  in 
his  later  years  in  such  plays  as  Pericles,  Henry 
VIII.,  and  The  Two  Noble  Kinsmen.  How  far 
Shakspere  was  of  this  dissolute  set  to  which  his 
fellow-workers  belonged  it  is  impossible  to  tell; 
but  we  know  that  by  and  by,  as  he  gained  mastery 


SHAKSPERE  AND  ENGLISH  DRAMA.        21 

over  his  art  and  became  more  and  more  independ- 
ent in  work  and  in  fortune,  he  left  this  sordid 
life  behind  him,  and  aimed  at  the  establishment 
of  a  family.  In  half  a  dozen  years  from  the  time 
of  Greene's  attack,  he  had  reached  the  top  of  his 
profession,  was  a  sharer  in  the  profits  of  his 
theatre,  and  had  invested  his  savings  in  land  and 
houses  in  his  native  town.  The  youth  who  ten 
years  before  had  left  Stratford  poor  and  burdened 
with  a  wife  and  three  children,  had  now  become 
"William  Shakspere,  Gentleman." 

During  these  years  Shakspere's  literary  work 
was  not  confined  to  the  drama,  which,  indeed, 
was  then  hardly  regarded  as  a  form  of  literature. 
In  1593  he  published  Venus  and  Adonis ,  and  in 
1594,  Lucrece,  two  poems  belonging  to  a  class  of 
highly  wrought  versions  ^f  classical  legends  which 
was  then  fashionable,  and  01  which  Marlowe's 
Hero  and  Leander  is  the  other  most  famous  ex- 
ample. For  several  years,  too,  in  the  last  decade 
of  the  sixteenth  century  and  the  first  few  years 
of  the  seventeenth,  he  was  composing  a  series 
of  sonnets  on  love  and  friendship,  in  this,  too, 
following  a  literary  fashion  of  the  time.  Yet 
these  give  us  more  in  the  way  of  self -revelation 
than  anything  else  he  has  left.  From  them  we 
seem  to  be  able  to  catch  glimpses  of  his  attitude 
towards  his  profession,  and  one  of  them  makes  us 
realize  sc  vividly  his  perception  of  the  tragic  risks 
of  his  surroundings  that  it  is  set  down  here : 


22  INTRODUCTION. 

O,  for  my  sake  do  you  with  Fortune  chide, 

The  guilty  goddess  of  my  harmful  deeds, 
That  did  not  better  for  my  life  provide 

Than  public  means  which  public  manners  breeds. 
Thence  comes  it  that  my  name  receives  a  brand, 

And  almost  thence  my  nature  is  subdued 
To  what  it  works  in,  like  the  dyer's  hand: 

Pity  me  then  and  wish  I  were  renewed ; 
Whilst,  like  a  willing  patient,  I  will  drink 

Potions  of  eisel  'gainst  my  strong  infection; 
No  bitterness  that  I  will  bitter  think, 

Nor  double  penance  to  correct  correction. 
Pity  me  then,  dear  friend,  and  I  assure  ye 

Even  that  your  pity  is  enough  to  cure  me. 

It  does  not  seem  possible  to  avoid  the  inferences 
lying  on  the  surface  in  this  poem ;  but  whatever 
confessions  it  may  imply,  it  serves,  too,  to  give  us 
the  assurance  that  Shakspere  did  not  easily  and 
blindly  yield  to  the  temptations  that  surrounded 
the  life  of  the  theatre  of  his  time. 

For  the  theatre  of  Shakspere's  day  was  no  very 
reputable  affair.  Externally  it  appears  to  us  now 
The  Eliza-  a  YeiT  meagre  apparatus — almost 
bethan  absurdly  so,  when  we  reflect  on  the 

grandeur  of  the  compositions  for 
.  which  it  gave  occasion.  A  roughly  circular 
wooden  building,  with  a  roof  over  the  stage 
and  over  the  galleries,  but  with  the  pit  often 
open  to  the  wind  and  weather,  having  very 
little  scenery  and  practically  no  attempt  at  the 
achievement  of  stage-illusion, — such  was  the 
scene  of  the  production  of  some  of  the  greatest 


SHAKSPERE  AND  ENGLISH  DR^MA.         %3 

-.imaginative  works  the  world  has  seen.  Nor  was 
the  audience  very  choice.  The  more  respectable 
citizens  of  Puritan  tendencies  frowned  on  the 
theatre  to  such  an  extent  that  it  was  found  advis- 
able to  place  the  buildings  outside  the  city  limits, 
and  beyond  the  jurisdiction  of  the  city  fathers. 
The  pit  was  thronged  with  a  motley  crowd  of 
petty  tradesfolk  and  the  dregs  of  the  town;  the 
gallants  of  the  time  sat  on  stools  on  the  stage, 
<c  drinking"  tobacco  and  chaffing  the  actors,  their 
efforts  divided  between  displaying  their  wit  and 
their  clothes.  The  actors  were  all  male,  the 
women's  parts  being  taken  by  boys  whose  voices 
were  not  yet  broken.  The  costumes,  frequently 
the  cast-off  clothing  of  the  gallants,  were  often 
gorgeous,  but  seldom  appropriate.  Thus  the  suc- 
cess of  the  performance  had  to  depend  upon  the 
excellence  of  the  piece,  the  merit  of  the  acting, 
and  the  readiness  o^  Appreciation  of  the  audience0 
This  last  point,  however,  was  more  to  be  relied 
upon  than  a  modern  student  might  imagine. 
Despite  their  dubious  respectability,  the  Eliza- 
bethan play-goers  must  have  been  of  wonderfully 
keen  intellectual  susceptibilities.  For  clever  feats 
in  the  manipulation  of  language,  for  puns, 
happy  alliterations,  delicate  melody  such  as  we 
find  in  the  lyrics  of  the  times,  for  the  thunder  of 
the  pentameter  as  it  rolls  through  the  tragedies  of 
Marlowe,  they  had  a  practiced  taste.  Qualities 
which  we  now  expect  to  appeal  chiefly  to  the 


24  INTRODUCTION. 

closet  student  were  keenly  relished  by  men  who 
could  neither  read  nor  write,  and  who  at  the  same 
time  enjoyed  jokes  which  would  be  too  broad,  and 
stage  massacres  which  would  be  too  bloody,  for  a 
modern  audience  of  sensibilities  much  less  acute 
in  these  other  directions.  In  it  all  we  see  how 
far-reaching  was  the  wonderful  vitality  of  the 
time. 

This  audience  Shakspere  knew  thoroughly,  and 
in  his  writing  he  showed  himself  always,  with 
shakspere's  whatever  growth  in  permanent  ar- 
Dramatic  tistic  qualities,  the  clever  man  of 

nt'  business  with  his  eye  on  the  mar- 
ket. Thus  we  can  trace  throughout  the  course 
of  his  production  two  main  lines:  one  indicative 
of  the  changes  of  theatrical  fashions ;  one,  more 
subtle  and  more  liable  to  misinterpretation,  show- 
ing the  progress  of  his  own  spiritual  growth. 

The  chronology  of  Shakspere's  plays  will  prob- 
ably never  be  made  out  with  complete  assurance, 
but  already  much  has  been  ascertained  (1)  from 
external  evidence  such  as  dates  of  acting  or  pub- 
lication, and  allusions  in  other  works,  and  (2) 
from  internal  evidence  such  as  references  to  books 
or  events  of  known  date,  and  considerations  of 
metre  and  language.  The  following  arrangement 
represents  what  is  probably  an  approximately 
correct  view  of  the  chronological  sequence  of  his 
works,  though  scholars  are  far  from  being  agreed 
upon  many  of  the  details. 


SHAKSPERE  AND  ENGLISH  DRAMA.         25 


26  INTRODUCTION. 

The  first  of  these  groups  contains  three  comedies 
of  a  distinctly  experimental  character,  and  a 
number  of  chronicle-histories,  some  of  which,  like 
the  three  parts  of  Henry  F/.,  were  almost  cer- 
tainly written  in  collaboration  with  other  play- 
wrights. The  comedies  are  light,  full  of  ingen- 
ious plays  on  words,  and  the  verse  is  often 
rhymed.  The  first  of  them,  at  least,  shows  the 
influence  of  Lyly.  The  histories  also  betray  a 
considerable  delight  in  language  for  its  own  sake, 
and  the  Marlowesque  blank  verse,  at  its  best 
eloquent  and  highly  poetical,  not  infrequently 
becomes  ranting,  while  the  pause  at  the  end  of 
each  line  tends  to  become  monotonous.  No  copy 
of  Romeo  and  Juliet  in  its  earliest  form  is  known 
to  be  in  existence,  and  the  extent  of  Shakspere's 
share  in  Titus  Andronicus  is  still  debated. 

The  second  period  contains  a  group  of  comedies 
marked  by  brilliance  in  the  dialogue ;  wholesome- 
ness,  capacity,  and  high  spirits  in  the  main  char- 
acters, and  a  pervading  feeling  of  good-humor. 
The  histories  contain  a  larger  comic  element  than 
in  the  first  period,  and  are  no  longer  suggestive  of 
Marlowe.  Rhymes  have  become  less  frequent,  and 
the  blank  verse  has  freed  itself  from  the  bondage 
of  the  end-stopped  line. 

The  plays  of  the  third  period  are  tragedies,  or 
comedies  with  a  prevailing  tragic  tone.  Shaks- 
pere  here  turned  his  attention  to  those  elements 
in  life  which  produce  perplexity  and  disaster,  and 


SHAKSPERE  AND  ENGLISH  DRAMA.         27 

in  this  series  of  masterpieces  we  have  his  most 
magnificent  achievement.  His  power  of  perfect 
adaptation  of  language  to  thought  and  feeling 
had  now  reached  its  height,  and  his  verse  had 
become  thoroughly  flexible  without  having  lost 
strength. 

In  the  fourth  period  Shakspere  returned  to 
comedy.  These  plays,  written  during  his  last 
years  in  London,  are  again  romantic  in  subject 
and  treatment,  and  technically  seem  to  show  the 
influence  of  the  earlier  successes  of  Beaumont  and 
Fletcher.  But  in  place  of  the  high  spirits  which 
characterized  the  comedies  of  the  earlier  periods 
we  have  a  placid  optimism,  and  a  recurrence  of 
situations  which  are  more  ingenious  than  plausi- 
ble, and  which  are  marked  externally  by  reunions 
and  reconciliations  and  internally  by  repentance 
and  forgiveness.  The  verse  is  singularly  sweet 
and  highly  poetical ;  and  the  departure  from  the 
end-stopped  line  has  now  gone  so  far  that  we  see 
clearly  the  beginnings  of  that  tendency  which 
went  to  such  an  extreme  in  some  of  Shakspere's 
successors  that  it  at  times  became  hard  to  dis- 
tinguish the  metre  at  all. 

In  Two  Noble  Kinsmen  and  Henry  VIII., 
Shakspere  again  worked  in  partnership,  the  col- 
laborator being,  in  all  probability,  John  Fletcher. 

Nothing  that  we  know  of  Shakspere's  life  from 
external  sources  justifies  us  in  saying,  as  has 
frequently  been  said,  that  the  changes  of  mood  in 


28  INTRODUCTION. 

his  work  from  period  to  period  corresponded  to 
changes  in  the  man  Shakspere.  As  an  artist  he 
certainly  seems  to  have  viewed  life  now  in  this 
light,  now  in  that ;  but  it  is  worth  noting  that  the 
period  of  his  gloomiest  plays  coincides  with  the 
period  of  his  greatest  worldly  prosperity.  It  has 
already  been  hinted,  too,  that  much  of  his  change 
of  manner  and  subject  was  dictated  by  the  vari- 
ations of  theatrical  fashion  and  the  example  of 
successful  contemporaries. 

Throughout  nearly,  the  whole  of  these  marvel 
ously  fertile  years  Shakspere  seems  to  have  stayed 
in  London;  but  from  1610  to  1612 
he  was  making  Stratford  more  and 
more  his  place  of  abode,  and  at  the 
same  time  he  was  beginning  to  write  less.  After 
1611  he  wrote  only  in  collaboration;  and  having 
spent  about  five  years  in  peaceful  retirement  in 
the  town  from  which  he  had  set  out  a  penniless 
youth,  and  to  which  he  returned  a  man  of  reputa- 
tion and  fortune,  he  died  on  April  23,  1616»  His 
only  son,  Hamnet,  having  died  in  boyhood,  of  his 
immediate  family  there  survived  him  his  wife  and 
his  two  daughters,  Susanna  and  Judith,  both  of 
whom  were  well  married.  He  lies  buried  in  the 
parish  church  of  Stratford, 


JULIUS  CAESAR.  29 


II.      JULIUS  CAESAR. 

The  date  of  Julius  Caesar  may,  with  a  fair 
nmount  of  assurance,  be  fixed  as  1601.  The 
argument  against  an  earlier  date, 
apart  from  the  general  relation  of 
the  play  to  Shakspere's  tragic  period,  is  based 
by  Mr.  Aldis  Wright  on  the  use  of  the  word 
"eternal,"  in  I.  ii.  160.  In  1600  Shakspere 
was  still  using  "infernal"  in  such  passages,  but 
after  that  date  he  substituted  "eternal,"  appar- 
ently out  of  deference  to  the  Puritan  agitation 
which  culminated  in  legislation  against  profanity 
and  other  abuses  on  the  stage.  Other  examples 
of  this  substitution  occur  in  Hamlet,  I.  v.  21, 
and  Othello,  IV.  ii.  130. 

The  later  limit  is  fixed  by  the  following  passage 
in  Weever's  Mirror  of  Martyrs  (published  1601), 
first  noted  by  Halliwell-Phillipps: 

The  many  headed  multitude  were  drawn 

By  Brutus  speech,  that  Caesar  was  ambitious, 

When  eloquent  Mark  Antonie  had  showne 

His  vert ues,  who  but  Brutus  then  was  vicious? 

As  the  speech  put  into  the  mouth  of  Antony  in 
the  play  is  Shakspere's  invention,  and  as  the 
argument  of  that  speech  is  referred  to  here,  it  is 
evident  that  the  play  cannot  be  later  than  1601. 
It  is  thus  the  first  of  the  series  of  great  tragedies 
which  constituted  the  chief  production  of  Shaks« 


30  INTRODUCTION. 

pere's  third  period,  and  which  were  written  when 
Ije  had  achieved  complete  mastery  of  all  the 
instruments  of  expression,  when  his  verse,  his 
diction,  and  his  powers  of  characterization  and 
dramatic  construction  were  at  their  best,  and 
when  he  was.  using  them  to  deal  with  the  problems 
of  life  seriously  and  profoundly. 

This   play,  like  many  others  of   Shakspere's, 
seems  to  have  remained  unpublished  during  his 

lifetime,  and  to  have  appeared  in 
xtxt?e  print  first  in  the  earliest  collected 

edition  of  his  works  issued  in  1623 
by  the  two  actors,  Heminge  and  Condell.  This 
volume  is  usually  known  as  the  "First  Folio,'* 
and  from  it  the  present  text  is  taken,  with  a  few 
alterations  drawn  from  the  later  Folios  and  from 
the  suggestions  of  modern  editors. 

The  history  of  Julius  Caesar  had  been  treated 
on  the  Elizabethan  stage  before  Shakspere  wrote 

his  tragedy,  but  there  is  no  trace 
liot.Ce  °f  ^  of  his  having  made  use  of  any 

earlier  play.  He  took  his  subject- 
matter  entirely  from  Plutarch's  lives  of  Caesar, 
Brutus,  and  Antony.  These  formed  part  of  the 
admirable  series  of  biographies  of  the  great  men 
of  antiquity  which  Plutarch  wrote  in  the  first 
century  A.D.,  and  which  were  translated  from 
Greek  into  French  by  Jacques  Amyot,  Bishop 
of  Auxerre,  in  1559.  This  French  version 
was  in  turn  put  into  English  by  Sir  Thomas 


JULIUS  CAESAR.  31 

North  and  published  in  1579,  and  North's  version 
was  that  used  by  Shakspere. 

The  structure  of  the  play  is  entirely  Shaks- 
pere's,  and  many  of  the  finest  passages,  from  the 
points  of  view  of  both  characterization  and  style, 
are  purely  the  product  of  his  imagination.  But 
there  remains  an  astonishingly  large  portion  of 
the  play  in  which  the  language  of  North  is  merely 
turned  into  blank  verse;  and  much  that  has 
puzzled  critics  in  the  unheroic  character  of  Caesar 
himself  finds  its  explanation  in  the  text  of 
Plutarch. 

Shakspere's  general  method  of  handling  his 
source  may  be  gathered  frcm  a  comparison  of  the 
following  extract  with  the  corresponding  passages 
in  the  drama: 

For,  touching  the  fires  in  tho  element,  and  spirits 
running  up  and  down  in  the  night,  and  also  the  solitary 
birds  to  be  seen  at  noondays  sitting  in  the  great  market- 
place, are  not  all  these  signs  perhaps  worth  the  noting, 
in  such  a  wonderful  chance  as  happened?  But  Strabo 
the  philosopher  writeth,  that  divers  men  were  seen 
going  up  and  down  in  fire :  and  furthermore,  that  there 
was  a  slave  of  the  soldiers  that  did  cast  a  marvellous 
burning  flame  out  of  his  hand,  insomuch  as  they  that 
saw  it  thought  he  had  been  burnt ;  but  when  the  fir^ 
was  out,  it  was  found  he  had  no  hurt.  Caesar  self  also 
doing  sacrifice  unto  the  gods,  found  that  one  of  the 
beasts  which  was  sacrificed  had  no  heart:  and  that  was 
a  strange  thing  in  nature,  how  a  beast  could  live  with- 
out a  heart.  Furthermore  there  was  a  certain  sooth- 
sayer that  had  given  Caesar  warning  long  time  afore, 


32  INTRODUCTION. 

to  take  heed  of  the  day  of  the  Ides  of  March,  (which  is 
the  fifteenth  of  the  month),  for  on  that  day  he  should 
be  in  great  danger.  That  day  being  come,  Caesar  going 
unto  the  Senate-house,  and  speaking  merrily  unto  the 
soothsayer,  told  him,  "the  Ides  of  March  be  come": 
"so  they  be,"  softly  answered  the  soothsayer,  "but  yet 
are  they  not  past."  1 

It  will  be  observed  that  this  material  is  used  by 
Shakspere  in  four  distinct  places.  The  first-men- 
tioned omens  are  described  by  Casca  in  I.  iii.  9ff. 
The  omen  of  the  sacrificial  beast  without  a  heart 
is  reported  to  Caesar  by  a  servant  in  II.  ii.  39,  40. 
The  soothsayer  appears  in  I.  ii.  12-24  and  III.  i. 
1,  2.  In  each  case  the  narrative  is  thrown  into 
drama,  and  the  style  is  made  more  vivid. 

How  closely  at  times  Shakspere  follows  his 
original  may  be  gathered  from  a  comparison  such 
as  this : 

So  Brutus  boldly  asked  what  he  was,  a  god  or  a 
man,  and  what  cause  brought  him  thither?  The  spirit 
answered  him,  "I  am  thy  evil  spirit,  Brutus:  and  thou 
shalt  see  me  by  the  city  of  Philippes."  Brutus  being 
no  otherwise  afraid,  replied  again  unto  it:  "Well,  then  I 
shall  see  thee  again." — Shakespeare's  Plutarch,  p.  136. 

Bru.  Art  thou  anything? 

Art  thou  some  god,  some  angel,  or  some  devil, 
That  makest  my  blood  cold  and  my  hair  to  stare? 
Speak  to  me  what  thou  art. 

Ghost  Thy  evil  spirit,  Brutus. 

"B^nji.  Why  comest  thou? 

*  Shakespeare'' s  Plutarch,  edited  by  W.  W.  Skeat, 
London  and  New  York,  1892,  pp.  97,  98. 


JULIUS  CAESAR.  33 

Ghost.  To  tell  thee  thou  shalt  see  me  at  Philippi. 
Bru.  Well;  then  I  shall  see  thee  again? 
Ghost,  Ay,  at  Philippi. 
Bru.  Why.  I  will  see  thee  at  Philippi,  then. 

—Julius  Caesar,  IV.  iii.  279-287 

The  translation  of  prose  into  blank  verse  dia- 
logue could  hardly  be  made  with  less  change. 

From  the  table  of  comparisons  between  the  play 
and  the  corresponding  passages  in  North's  Plutarch 
which  will  be  found  on  pp.  42-44,  one  can  see  at  a 
glance  the  method  of  selection  and  rearrangement, 
and  can  note  the  passages  which  are  entirely  of 
Shakspere's  invention.  Thus  the  characters  of 
Casca  and  Lepidus  are  hardly  hinted  at  by  Plu- 
tarch, while  the  boy  Lucius,  the  soliloquy  in  which 
the  workings  of  the  mind  of  Brutus  are  laid  bare, 
the  scene  in  his  orchard,  the  scene  in  which  the 
conspirators  bathe  their  arms  in  Caesar's  blood,  and 
the  soliloquy  of  Antony  over  Caesar's  dead  body, 
are  all  wholly  Shakspere's.  Further,  the  speeches 
of  Antony  and  Brutus  at  Caesar's  funeral  are 
elaborated  from  the  slightest  hints. 

Julius    Caesar  is  written  in   the   blank   verse 

which,  since   Marlowe,    had   been   the   standard 

metre  of  the  English  drama.     The 

Metre. 

few  prose  passages  in  the  plaj 
occur  in  pieces  of  homely  dialogue  and  in  the 
laconic  speech  of  Brutus  to  the  citizens.  The 
normal  type  of  the  blank  verse  has  five  iambic 
feet,  that  is,  ten  syllables  with  the  accent  falling 


34  INTRODUCTION. 

on  the  even  syllables.  From  this  regular  formf 
however,  Shakspere  deviates  with  great  freedom, 
the  commonest  variations  being  the  following: 

1.  The  addition  of  an  eleventh  syllable;  e.g.> 

Which  give  |  some  soil  |  perhaps  |  to  my  |  behav  |  ioura, 

I.  ii.  42. 
Then,  Bru  |  tus,  I  |  have  much  I  mistook  |  your  pas  | 

sion,  I.  ii.  48. 
And  be  |  not  jeal  |  ous  on  |  me,  gen  j  tie  Bru  |  tus,  L 

ii.  71. 

Occasionally  this  extra  syllable  occurs  in  the  mid» 
die  of  the  line,  at  the  main  pause  known  as  the 
caesura,  which  is  most  frequent  after  the  third 
foot;  e.g., 

The  melt  |  ing  spirits  |  of  worn  |  en,  \\  then,  coun  I  try 

men  1  ,  II.  i.  122. 
Brutus  |  and  Cae  |  sar  \\  :   what  should  |  be  in  |  that 

"Cae  |  sar,"  I.  ii.  142. 

2.  Frequently  what  seems  an  extra  syllable  is  to 
be  slurred  in  reading;  e.g.,  "spirits"  in  the  line 
quoted  above  is  a  monosyllable.     So 

Being  crossed  |  in  con  |  ference  by  |  some  sen  |  ators  ) , 
I.  ii  188. 

where  uBeing"  is  monosyllabic  and  "conference" 
dissyllabic.  So  also  "whether"  is  a  monosyl- 
lable in 

See,  whether  |  their  bas  ]  est  met  I  al  be  |  not  moved  |  r. 

I.  i.  65. 

Whether  Cae  ]  sar  will  |  come  forth  |  to-day  |  ,  or  ao  I 

II.  i.  194. 


JULIUS  CAESAR.  35 

Similarly  "Either"  is  a  monosyllable  in 

Either  led  |  or  driv  |  en,  as  |  we  point  |  the  way  |  ,  IV. 

i.  23. 

In  some  lines  it  is  doubtful  whether  a  syllable  is 
to  be  slurred  or  sounded  as  a  light  extra  syllable, 
as,   e.g.,  "  together"  in 
Write  them  |  together  |  ,  yours  is  |  as  fair  |  a  name  |  , 

I.  ii.  144. 

3.  Sometimes  an  emphatic  syllable  stands  alone 
as  a  foot,  without  an  unaccented  syllable  ;  e.g.  , 

Speak  |  ,  strike  \  ,  redress  1  !     Am  I  |  entreat  |  ed,  IL 
i.  55. 

4.  Short  lines,  lacking  one  or  more  feet,  occur  j 


Made  in  his  concave  shores,  I.  i  51. 
For  that  which  is  not  in  me,  L  ii.  65. 

5.  Long  lines  of  twelve  or  thirteen  syllables 
occur;  e.g., 

The  old  Anchises  bear,  so  from  the  waves  of  Tiber,  L 

ii.  114. 
None  that  I  know  will  be,  much  that  I  fear  may  chance, 

II.  iv.  32. 
To  mask  thy  monstrous  visage?  Seek  none,  conspiracy, 

IL  i.  81. 

Usually  in  such  lines  some  words  bearing  the 
metrical  accent  are  quite  unemphatic  in  reading, 
as  in  the  fourth  foot  of  the  first  example. 

6.  Frequently,  especially  in  the  first  foot,  & 
trochee  is  substituted   for  an  iambus,  t,e.«  the 


36  INTRODUCTION. 

accent  falls  on  the  odd  instead  of  the  even  syllable; 

e.g., 

t 
Being  [  mechanical,  you  ought  not  walk,  I.  L  3. 

j_ 
Therefore  |  ,  good  Brutus,  be  prepared  to  hear,  I.  ii  66. 

j_ 
When  went  there  by  an  age  |  since  the  [  great  flood,  I 

ii.  152. 

j_ 
Till  then,  my  noble  friend,  |  chew  up  |  on  this,  I.  ii.  171. 

It  must  be  remembered,  however,  that  some 
frords  have  changed  their  pronunciation  since 
Shakspere's  time.  Thus  "compact"  was  usually 
accented  on  the  last  syllable,  as  in  the  following 

line, 

^ 
But  what  compact  mean  you  to  have  with  us,  III.  i.  216 

Again,  from 

Even  at  the  base  of  Pompey's  statue,  III.  ii.  198, 

we  see  that  " statue"  was  sometimes  trisyllabic, 

and  from 

Fearing  to  strengthen  that  impati-ence,  II.  i.  248, 

that  "impatience"  had  four  syllables. 

Although  differences  between  the  language  of 
Shakspere  and  that  of  our  own  day  are  obvious  to 
the  most  casual  reader,  there  is  a 
risk  that  the  student  may  under- 
estimate the   extent   of    these   differences,   and, 
assuming  that   similarity  of  form  implies  iden- 
tity  of   meaning,   miss  the  true  interpretation. 
The   most    important    instances    of    change    of 
meaning    are   explained    in    the    notes;    but  a 


JULIUS  CAESAR.  87 

clearer  view  of  the  nature  and  extent  of  the 
contrast  between  the  language  of  Julius  Caesar 
and  modern  English  will  be  gained  by  a  classifi- 
cation of  the  most  frequent  features  of  this  con- 
trast. Some  of  the  Shaksperean  usages  are  merely 
results  of  the  carelessness  and  freedom  which  the 
more  elastic  standards  of  the  Elizabethan  time 
permitted ;  others  are  forms  of  expression  at  that 
time  quite  accurate,  but  now  become  obsolete. 

(1.)  NOUNS,  (a)  Shakspere  frequently  uses  an 
abstract  noun  with  "of"  where  modern  English 
has  an  adjective.  Thus  in  Hamlet ,  I.  ii.  4, 
"brow  of  woe"  =  woful  brow,  and  in  Twelfth 
Night,  I.  v.  77,  <cmouse  of  virtue"  =  virtuous 
mouse.  So  in  Julius  Caesar,  I.  ii.  109,  "hearts 
of  controversy"  =  controversial  feelings,  and  in  I. 
ii.  40,  "passions  of  some  difference"  =  conflicting 
passions.  Conversely  in  IV.  ii.  16,  "familiar 
instances"  =  instances  of  familiarity. 

(b)  Abstract  nouns  are  often  used  in  the  plurai ; 
e.g.,  "behaviours,"  I.  ii.  42. 

(2.)  ADJECTIVES.  Double  superlatives  occur; 
e.g.,  "most  unkindest,"  III.  ii.  193;  "most 
boldest,"  HI.  i.  122. 

(3.)     PKONOUNS.     (a)  The  nominative  is  often 
used  for  the  objective,  especially  after  preposi- 
tions; e.g.,  "save  I,"  III.  ii.  70;  "save  only  he,1 
V.  v.  69;  "but  we,"  III.  i.  96. 

(b)  The  possessive  "its"  did  not  come  into 
common  use  until  after  the  middle  of  the  seven 


30  INTRODUCTION. 

teenth  century,  and  in  Shakspere,  as  in  other 
early  writers,  we  have  "his";  e.g.,  "And  that 
same  eye  .  .  .  Did  lose  his  lustre,"  I.  ii.  123,  4. 

(c)  Confusion  between  the  personal  and  reflex- 
ive forms  is  common  ;  e.g.,  "Submitting  me  unto 
the  perilous  night,"  I.  iii.  47;  "Here  is  himself," 
III.  ii.  207;  "%s^/have  letters,"  IV.  iii.  172, 

(d)  The  ethical  dative  is  commoner  in  Shaka. 
pere  than  in  modern  speech;   e.g.,  "He  plucked 
me  ope  his  doublet,"  I.  ii.  271,  2. 

(e)  The  modern  distinction  among  the  relative 
pronouns,  who,  which,  that,  as,  is  not  observed; 
e.g.,  "a  lion  who  glared,"  I.  iii.  20;  "a  lamb  That 
carries  anger  as  the  flint  bears  fire,  Who,  much 
enforced,  shows  a  hasty  spark,"  IV.  iii.  110-112; 
44  That  gentleness  And  show  of  love  as  I  was  wont 
to  have,"  I.  ii.  33;  "Under  these  hard  conditions 
as  this  time  Is  like  to  lay  upon  us,"  I.  ii.  174,5; 
"To  such  a  man  That  is  no  fleering  tell-tale,"  L 
ui.  116-7. 

(4.)  VERBS,  (a)  A  singular  verb  is  often 
found  with  a  plural  subject;  e.g.,  "7s  Decius 
Brutus  and  Trebonius  there?"  I.  iii.  148;  "There 
is  tears  for  his  love,"  III.  ii.  31;  "Three  parts  of 
him  Is  ours,"  I.  iii.  154,  5;  "There's  two  or  three 
of  us,"  I.  iii.  138.  In  relative  clauses  where  the 
relative  pronoun  refers  to  "you"  used  of  one 
person,  Shakspere  frequently  has  a  singular  verb; 
e.g.,  "You  know  that  you  are  Brutus  that  speaks 
this,"  IV,  iii.  13. 


JULIUS  CAESAR.  39 

(8)  Plural  verbs  occur  with  singular  subjects; 
e.g.,  "The  posture  of  your  blows  are  yet  un- 
known," V.  i.  33,  where  the  irregularity  is  due 
to  the  plural  " blows." 

(c)  The  "n"  is  frequently  dropped  from  the 
ending  of  the  past  participle  of  strong  verbs ;  e.g. , 
"spoke"  for   "spoken,"  II.  i.   125.     When  the 
word  thus  produced  might  be  mistaken  for  the 
infinitive,  the  form  of  the  past  tense  is  found; 
e.#.,"took"  for  "taken,"   I.  ii.   48;  II.    i.   50. 
Three  forms  of  the  past  participle  of  "strike" 
are  found  in  Julius  Caesar,  viz.,  "struck,"  I.  ii. 
177;  "strucken,"    II.    ii.    114;  "stricken,"   II. 
i.  192. 

(d)  "Be"  is  sometimes  used  for  "are"  in  the 
plural  of  the  present  indicative;  e.g.,  "Sucn  men 
as  he  be  never  at  heart's  ease,"  I.  ii.  208. 

(e)  Verbs  of  motion  are  at  times  omitted;  e.g., 
"I'll  about  and  drive  away  the  vulgar,"  I.  i.  73,  4. 

(5.)  ADVERBS,  (a)  Double  negatives  are  used 
with  a  merely  intensive  force;  e.g.,  "Nor  to 
no  Koman  else,"  III.  i.  92;  "Yet  'twas  not  a 
crown  neither,"  I.  ii.  239;  "Nor  nothing  in 
your  letters,"  IV.  iii.  184;  "No  figures  nor  no 
fantasies,"  II.  i.  231. 

(b)  The  form  of  the  adjective  is  often  used  for 
the  adverb;  e.g.,  "This  time  Is  like  to  lay  upon 
us,"  I.  ii.  174,  5;  "Every  time  gentler  than 
other,"  I.  ii.  231;  "Thou  couldst  not  die  more 
honourable,"  V.  i.  60. 


(6.)  PREPOSITIONS.  These  are  often  omitted  j 
**ff*9  "Worthy  note,"  I.  ii.  181;  "Arrive  the 
point,1'!  ii.  110;  "Listen  great  things,"  IV.  L 
41. 

COMPARISON  OF  JULIUS  CAESAR  AND 
NORTH'S  PLUTARCH 

The  italics  indicate  passages  in  the  plays  which  are  not  repre- 
sented in  Plutarch.  The  page  references  in  the  third  column  are 
to  Skeat's  Shakespeare's  Plutarch* 


I. 

The  stripping  of  the  images. 

The  Lupercalia 

The  warning  of  the  Sooth- 
sayer   

Cassius    incites    Brutus   to 


conspiracy 

Caesar's  description  of  Cas- 
sius   

The  offer  of  the  crown  to 
Caesar 

Caesar's  falling  sickness. . . . 

Marullus  and  Flavius  si- 
lenced   

Charade*  of  Casca 

Writings  thrown  in  Brutus's 
way 


Omens  before  the  death  of 
Caesar 

Cassius' enlists  Casca 

Why  the  conspirators  de- 
sired Brutus 


II. 

The  rdle  of  Lucius 

Brutus  soliloquizes  on  Caesar 

Conspirators    visit    Brutus 

by  night 


Li 

L  ii.  1-24... 


Lii.  24-181., 
L  ii.  192-210, 

I.  ii.  221-285, 
L  ii.  252-261, 

I.  ii.  295.... 
I.  ii.  306-313, 


ILL    41.... 

I.  iii.  1-33... 
I.  iii.  41 

I.  iii.  140,  156 


II.  i.  10  ..... 
II.  i.  70  ..... 


96 

95-6;  163-4 

98 

97;  113 

97;  111 

94-6 

57;  89;  95, 

[etc. 
96 


97;  112 

97 

114 


JULIUS  CAESAR.  4 

JVLIU8  CAESAR  AND  NORTH'S  PLU T Alt CH.— Continued. 


Objection    to  taking    oaths 
(by  Brutus  in  S.  ;  by  whom 
is  not  stated  in  P.)  
Objection    to    confiding    in 
Cicero  (by  Brutus   in    S.  ; 
by  whom  is  not  stated  in  P.) 

II.  i.  113  
ILL  141  

114 
114 

Brutus    objects     to    killing 

IL  i  154  

119;  164 

Caesar's     superstition    and 
love  of  flattery  

II.  i.  194  

Portia  pleads  with  Brutus  .  . 
Brutus  enlists  Caius  Liga- 
rius   
Calpurnia  pleads  with  Cae- 

II.  i.  279  
II.  i.  310.... 
II  ii.  1  

115 
113 
98;  11? 

Decius  persuades  Caesar  .... 
Conspirators  come  to  escort 
Caesar  
Petition  of  Artemidorus  .... 
Portia  sends  messenger  to 
Brutus  
Portia  and  the  Soothsayer  .  . 

III. 

Cassius  fears  discovery  
The  assassination     
Bathing  in  Caesar's  blood  .  . 
Antony  and  the  conspirators 
Brutus  gives  Antony  leave 
to  speak  
Antony's  soliloquy  over  Cae- 
sar's body  
Brutus  to  the  citizens  

II.  ii.  57  

II.  ii.  108.... 
II.iii.jIII.i.3 

II.  iv.  1. 
II.  iv.  21  ... 

III.  i.  13  
III.  i.  25  .... 
III.  i.  106.... 
III.  i.  148.... 

III.  i.  232.... 

III.  i.  255.... 
III.  ii.  1  
Ill  ii  82 

99 

99 

117 
117 

117 
100-1;  118-9 

121;  165 
121 

[120] 
[121'  165] 

The  riot  
Cinna's  dream  and  death  .  .  . 

IV. 

The    triumvirs    prick    the 
names  . 

III.  ii.  263... 
III.  iii.  

IV.i.  I:iii.l73 

122 
102-3;  123 

128:  169 

42  INTRODUCTION. 

JULIUS  CAESAR  AND  NORTH'S  PLUTARCH.-Continued. 


Antonyms  description  of  Lep- 

idus  

IV.  i.  12..... 

Quarrel  of  Brutus  and  Cas- 

sius  

IV.  ii,  in.... 

134 

The  poet  interrupts  
Death  of  Portia  

IV.  iii.  124  .  . 
IV.  iii.  147  .  . 

134 
151 

Brutus  counsels  an  advance. 

IV.  iii.  197  .  . 

138-9 

The  ghost  of  Caesar  

IV.  iii.  275  .  . 

136 

V. 

Antony  and  Octavius  order 

their  array     -  

V.  i    1     

The  parley  

V.  i.  21  

The  omen  of  the  eagles  

V.  i.  80  

137 

Brutus  and  Cassius  discuss 

suicide   

V.  i.  93  

140 

Brutus    and    Cassius    take 

farewell   

V.  i.  116.... 

Brutus      pushes     Octavius 

hard  

V.  ii  

141 

Cassius  is  overcome  

V.  iii.  1  .... 

142 

Death  of  Cassius  

V.  iii.  14  

143 

Titinius  kills  himself  

V.  iii.  51  .... 

143 

Brutus    over    the    body    of 

Cassius  

V.  iii.  91  .... 

144 

Death  of  young  Cato  

V.  iv.  1  

148 

Lucilius  mistaken  for  Bru- 

tus   

V.  iv.  13  .... 

149 

Death  of  Brutus  

V.  v.  1  

104;  150-1 

Antony  over    the   body  of 

Brutus  

V.  v.  68  

130 

JULIUS  CAESAR. 


DRAMATIS  PERSOJSTAE 


triumvirs  after  the  death  of 
Julius  Caesar. 


senators. 


conspirators  against  Julius 
Caesar. 


JULIUS  CAESAR. 

OCTAVIUS  CAESAR, 

MARCUS  ANTONIUS, 

M.  AEMILIUS  LEPIDUS, 

CICERO, 

PUBLIUS, 

POPILIUS  LENA, 

MARCUS  BRUTUS, 

CASSIUS, 

CASCA, 

TREBONIUS, 

LIGARIUS, 

DECIUS  BRUTUS, 

METELLUS  CIMBER, 

CINNA, 

FLAVIUS  and  MARULLUS, 

ARTEMIDORUS  of  Cnidos,  a  teacher  of  Rhetoric 

A  Soothsayer. 

CINNA,  a  poet.    Another  Poet. 

LUCILIUS, 

TITINIUS, 

MESSALA, 

Young  CATO, 

VOLUMNIUS, 

VARRO, 

CLITUS, 

CLAUDIUS, 

STRATO, 

Lucius, 

DARDANIUS, 

PINDARUS,  servant  to  Cassius. 


I  friends  to  Brutus  and  Cassiits 
servants  to  Brutus 


CALPURNIA,  wife  to  Caesar. 
PORTIA,  wife  to  Brutus. 

Senators,    Citizens,  Guards,  Attendants,  eta 

SCENE  :  Rome;  the  neighborhood  of  Sardis;  the  neigh- 
borhood of  Philippi. 

44 


JULIUS   CAESAR 

ACT   FIEST. 

SCENE  I. 

Rome.     A  street. 

Enter  Flavins,  Marullus,  and  certain  Com- 
moners. 

Flav.  Hence!  home,  you  idle  creatures,  get  you 

home: 

Is  this  a  holiday?  what !  know  you  not, 

Being  mechanical,  you  ought  not  walk 

Upon  a  labouring  day  without  the  sign 

s          Of  your  profession?     Speak,  what  trade  art 

thou? 

First  Com.  Why,  sir,  a  carpenter. 
Mar.  Where  is  thy  leather  apron  and  thy  rule? 
What  dost  thou  with  thy  best  apparel  on? 
You,  sir,  what  trade  are  you? 

10  Sec.  Com.   Truly,  sir,  in  respect  of  a  fine  work- 
man, I  am  but,  as  you  would  say,  a  cobbler. 
Mar.  But    what    trade    art    thou?    answer    me 

directly. 

45 


46  JULIUS  CAESAR.          [ACT  I.  So.  i. 

Sec.  Com.  A  trade,  sir,  that,  I  hope,  I  may  use 
with  a  safe  conscience;  which  is,  indeed, 
sir,  a  mender  of  bad  soles.  15 

Mar.  What   trade,    thou   knave?    thou   naughty 
knave,  what  trade? 

Sec.  Com.  Nay,  I  beseech  you,  sir,  be  not  out 
with  me :  yet,  if  you  be  out,  sir,  I  can  mend 
you. 

Mar.  What   mean'st  thou   by  that?    mend   me,  20 
thou  saucy  fellow ! 

Sec.  Com.  Why,  sir,  cobble  you. 

Flav.  Thou  art  a  cobbler,  art  thou? 

Sec.  Com.  Truly,  sir,  all  that  I  live  by  is  with 
the  awl:  I  meddle  with  no  tradesman's  mat- 
ters, nor  women's  matters,  but  with  awl.  I  25 
am,  indeed,  sir,  a  surgeon  to  old  shoes ;  when 
they  are  in  great  danger,  I  recover  them. 
As  proper  men  as  ever  trod  upon  neat's 
leather  have  gone  upon  my  handiwork. 

Flav.  But  wherefore  art  not  in  thy  shop  to-day?    so 
Why  dost   thou   lead  these  men  about  the 
streets? 

Sec.  Com.  Truly,  sir,  to  wear  out  their  shoes,  to 
get  myself  into  more  work.  But,  indeed, 
sir.  we  make  holiday,  to  see  Caesar  and  to 
rejoice  in  his  triumph.  35 

Mar.  Wherefore  rejoice?     What  conquest  brings 

he  home? 

What  tributaries  follow  him  to  Rome, 
To  grace  in  captive  bonds  his  chariot-wheels? 


ACT  I.  Sc.  i.]         JULIUS  CAESAR.  47 

You  blocks,    you    stones,   you   worse  than 

senseless  things ! 
40          0  you  hard  hearts,  you  cruel  men  of  Rome, 

Knew.you  not  Pompey?     Many  a  time  and  oft 

Have  you  climb 'd  up  to  walls  and  battle- 
ments, 

To  towers  and  windows,   yea,   to  chimney- 
tops, 

Your  infants  in  your  arms,  and  there  have 

sat 
45          The  live-long  day,  with  patient  expectation, 

To   see   great   Pompey   pass   the   streets   of 
Eome: 

And  when  you  saw  his  chariot  but  appear, 

Have  you  not  made  an  universal  shout, 

That  Tiber  trembled  underneath  her  banks, 
50          To  hear  the  replication  of  your  sounds 

Made  in  her  concave  shores? 

And  do  you  now  put  on  your  best  attire? 

And  do  you  now  cull  out  a  holiday? 

And  do  you  now  strew  flowers  in  his  way 
5B          That    comes    in    triumph     over     Pompey's 
blood? 

Be  gone ! 

Eun  to  your  houses,  fall  upon  your  knees, 

Pray  to  the  gods  to  intermit  the  plague 

That  needs  must  light  on  this  ingratitude, 
eo  Flav.   Go,   go,   good  countrymen,   and,  for  this 
fault, 

Assemble  all  the  poor  men  of  your  sort; 


48  JULIUS  CAESAR.         [ACT  I.  Sa  i 

Draw  them  to  Tiber  banks,  and  weep  your 

tears 

Into  the  channel,  till  the  lowest  stream 
Do  kiss  the  most  exalted  shores  of-  all. 

[Exeunt  all  the  Commoners. 
See,   whether    their    basest    metal    be    not  as 

mov'd; 

They  vanish  tongue-tied  in  their  guiltiness. 
Go  you  down  that  way  towards  the  Capitol; 
This  way  will  I :  disrobe  the  images, 
If  you  do  find  them  deck'd  with  ceremonies. 
Mar.  May  we  do  so?  TO 

You  know  it  is  the  feast  of  Lupercal. 
Flav.  It  is  no  matter ;  let  no  images 

Be  hung  with  Caesar's  trophies.  I'll  about, 
And  drive  away  the  vulgar  from  the  streets : 
So  do  you  too,  where  you  perceive  them  75 

thick. 
These  growing  feathers  pluck 'd  from  Cae» 

sar's  wing 

Will  make  him  fly  an  ordinary  pitch, 
Who  else  would  soar  above  the  view  of  men 
And  keep  us  all  in  servile  fearfulness. 

[Exeunt. 


ACT  I.  So.  ii.]        JULIUS  CAESAR.  49 


SCENE  II. 

A  public  place. 

Flourish.  Enter  Caesar;  Antony,  for  the  course.* 
Calpurnia,  Portia,  Decius,  Cicero,  Brutus, 
Cassius,  and  Casca;  a  great  crowd  following, 
among  them  a  Soothsayer. 

Caes.   Calpurnia! 

Casca.  Peace,  ho !  Caesar  speaks. 

Caes.  Calpurnia  * 

Gal.  Here,  my  lord. 

Caes.  Stand  you  directly  in  Antonius'  way, 

When  he  doth  run  his  course.     Antonius ! 
o  Ant.  Caesar,  my  lord? 
Caes.  Forget  not,  in  your  speed,  Antonius, 

To  touch  Calpurnia ;  for  our  elders  say, 

The  barren,  touched  in  this  holy  chase, 

Shake  off  their  sterile  curse. 

Ant.  I  shall  remember: 

10          When  Caesar  says  "do  this,"  it  is  perform'd. 
Caes.  Set  on ;  and  leave  no  ceremony  out. 

[Flourish. 
Sooth.  Caesar! 
Caes.  Ha!  who  calls? 

Casca.  Bid  every  noise  be  still :  peace  yet  again ! 
15  Caes.  Who  is  it  in  the  press  that  calls  on  me? 

I  hear  a  tongue,  shriller  than  all  the  music. 


50  JULIUS  CAESAR.         [ACT  I.  So.  ii. 

• 
Cry  " Caesar!"     Speak;    Caesar  is  turn 'd  to 

hear. 

Sooth.  Beware  the  ides  of  March. 
Caes.  What  man  is  that? 

Bru.  A  soothsayer  bids  you  beware  the  ides  of 

March. 

Caes.   Set  him  before  me;  let  me  see  his  face.         2 
Cas.  Fellow,  come  from  the  throng;   look  upon 

Caesar. 
'Jaes.  What  say'st  thou  to  me  now?    speak  once 

again. 

Sooth.  Beware  the  ides  of  March. 
Caes.  He  is  a  dreamer ;  let  us  leave  him :  pass. 
[Sennet.     Exeunt    all    except     Brutus    and 

Cassius. 

Oas.  Will  you  go  see  the  order  of  the  course? 
Bru.  Not  I. 
Cas.  I  pray  you,  do. 

Bru.  I  am  not  gamesome:  I  do  lack  some  part 
Of  that  quick  spirit  that  is  in  Antony. 
Let  me  not  hinder,  Cassius,  your  desires; 
I'll  leave  you. 

Cas.  Brutus,  I  do  observe  you  now  of  late : 
I  have  not  from  your  eyes  that  gentleness 
And  show  of  love  as  I  was  wont  to  have: 
You  bear  too   stubborn  and  too  strange  a 

hand 

Over  your  friend  that  loves  you. 
Bru.  Cassius, 

Be  not  deceiv'd:  if  I  have  veil'd  my  look, 


ACT  I.  Sc.  ii.]        JULIUS  CAESAR.  51 

I  turn  the  trouble  of  my  countenance 
Merely  upon  myself.     Vexed  I  am 
ft          Of  late  with  passions  of  some  difference, 
Conceptions  only  proper  to  myself, 
Which  give  some  soil  perhaps  to  my  behav* 

iours ; 
But  let  not  therefore  my  good  friends  be 

griev'd— 

Among  which  number,  Cassius,  be  you  one — 
15          Nor  construe  any  further  my  neglect, 

Than  that  poor  Brutus,  with  himself  at  war, 
Forgets  the  shows  of  love  to  other  men. 
Cas.  Then,   Brutus,  I  have  much  mistook  your 

passion ; 
By  means  whereof  this  breast  of  mine  hath 

buried 

80          Thoughts  of  great  value,  worthy  cogitations. 
Tell  me,  good  Brutus,  can  you  see  your  face? 
Bru.  No,  Cassius ;  for  the  eye  sees  not  itself 
But  by  reflection,  by  some  other  things. 
Cas.  'Tis  just: 
65          And  it  is  very  much  lamented,  Brutus, 

That  you  have  no  such  mirrors  as  will  tu*a 
Your  hidden  worthiness  into  your  eye, 
That  you  might  see  your  shadow.     I  have 

heard, 

Where  many  of  the  best  respect  in  Home* 
w          Except  immortal  Caesar,  speaking  of  Brntus 
And  groaning  underneath  this  age's  yokr, 
Have  wish'd  that  noble  Brutus  had  his 


52  JULIUS  CAESAR.        [ACT  I.  Sc.  it 

Bru.  Into  what   dangers   would   you    lead  me, 

Cassius, 

That  you  would  have  me  seek  into  myself 
For  that  which  is  not  in  me?  35 

Cas.  Therefore,  good  Brutus,  be  prepared  to  hear: 
And  since  you  know  you  cannot  see  yourself 
So  well  as  by  reflection,  I,  your  glass, 
Will  modestly  discover  to  yourself 
That  of  yourself  which  you  yet  know  not  of.  w 
And  be  not  jealous  on  me,  gentle  Brutus: 
Were  I  a  common  laugher,  or  did  use 
To  stale  with  ordinary  oaths  my  love 
To  every  new  protester ;  if  you  know 
That  I  do  fawn  on  men  and  hug  them  hard    t* 
And  after  scandal  them,  or  if  you  know 
That  I  profess  myself  in  banqueting 
To  all  the  rout,  then  hold  me  dangerous. 

[Flourish  and  shout, 

Bru.  What  means  this  shouting?     I  do  fear,  the 

people 
Choose  Caesar  for  their  king. 

Cas.  Ay,  do  you  fear  it?  so 

Then  must  I  think  you  would  not  have  it  so. 

Bru.  I  would  npt,  Cassius;  yet  I  love  him  well. 
But  wherefore  do  you  hold  me  here  so  long? 
What  is  it  that  you  would  impart  to  me? 
If  it  be  aught  toward  the  general  good,  85 

Set  honour  in  one  eye  and  death  i'  th'  other, 
And  I  will  look  on  both  indifferently, 
For  let  the  gods  so  speed  me  as  I  love 


ACT  I.  Sc.  ii.]        JULIUS  CAESAR.  53 

The  name  of  honour  more  than  I  fear  death. 

90  Cas.  I  know  that  virtue  to  be  in  you,  Brutus, 
As  well  as  1  do  know  your  ouLward  favour. 
Well,  honour  is  the  subject  of  my  story. 
I  cannot  tell  what  you  and  other  men 
Think  of  this  life ;  but,  for  my  single  self, 

05          I  had  as  lief  not  be  as  live  to  be 

In  awe  of  such  a  thing  as  I  myself. 
I  was  born  free  as  Caesar;  so  were  you: 
We  both  have  fed  as  well,  and  we  can  both 
Endure  the  winter's  cold  as  well  as  he: 

too          For  once,  upon  a  raw  and  gusty  day, 

The  troubled  Tiber  chafing  with  her  shores, 
Caesar  said  to  me  "Dar'st  thou,  Cassius,  now 
Leap  in  with  me  into  this  angry  flood, 
And   swim   to  yonder   point?"      Upon  the 
word, 

106          Accoutred  as  I  was,  I  plunged  in 

And  bade  him  follow ;  so  indeed  he  did. 
The  torrent  roar'd,  and  we  did  buffet  it 
With  lusty  sinews,  throwing  it  aside 
And  stemming  it  with  hearts  of  controversy^ 

110          But  ere  we  could  arrive  the  point  propos'd, 
Caesar  cried  "Help  me,  Cassius,  or  I  sink!" 
I,  as  Aeneas,  our  great  ancestor, 
Did    from    the   flames    of    Troy   upon    his 

shoulder 

The  old  Anchises  bear,  so  from  the  waves  of 
Tiber 

us          Did  I  the  tired  Caesar.     And  this  man 


$4  JULIUS  CAESAR.        [ACT  I.  So.  ii 

Is  now  become  a  god,  and  Cassius  is 

A  wretched   creature   and    must  bend    his 

body, 

If  Caesar  carelessly  but  nod  on  him. 
He  had  a  fever  when  he  was  in  Spain, 
And  when  the  fit  was  on  him,  I  did  mark        120 
How  he  did  shake:    'tis  true,  this  god  did 

shake : 

His  coward  lips  did  from  their  colour  fiy, 
And  that  same  eye  whose  bend  doth  awe  the 

world 

Did  lose  his  lustre:  I  did  hear  him  groan: 
Ay,  and  that  tongue  of   his  that  bade  the  125 

Eomans 
Mark  him  and  write  his  speeches  in  their 

books, 
Alas,  it  cried  "Give  me  some  drink,  Titin- 

ius," 

As  a  sick  girl.     Ye  gods,  it  doth  amaze  me 
A  man  of  such  a  feeble  temper  should 
So  get  the  start  of  the  majestic  world  iso 

And  bear  the  palm  alone. 

[Shout.     Flourish. 
Bru.  Another  general  shout ! 

I  do  believe  that  these  applauses  are 

"For  some  new  honours  that  are  heap'd  on 

Caesar. 
Cas.  Why,   man,    he   doth  bestride   the   narrow  135 

world 
Like  a  Colossus,  and  we  petty  men 


ACT  I.  Sc.  ii.]       JULIUS  CAESAR.  55 

Walk  under  his  huge  legs  and  peep  about 
To  find  ourselves  dishonourable  graves. 
Men  at  some  time  are  masters  of  their  fates ; 
i          The  fault,  dear  Brutus,  is  not  in  our  stars, 
But  in  ourselves,  that  we  are  underlings. 
Brutus  and  Caesar :    what  should  be  in  that 

"Caesar"? 
Why   should   that   name   be   sounded   more 

than  yours? 

Write  them  together,  yours  is  as  fair  a  name ; 
Sound  them,  it  doth  become  the  mouth  as 

well ; 
Weigh  them,  it  is  as  heavy;    conjure  with 

'em, 
"Brutus"   will   start   a    spirit    as    soon    as 

"Caesar." 

Now,  in  the  names  of  all  the  gods  at  once, 
Upon  what  meat  doth  this  our  Caesar  feed, 
>          That  he  is  grown  so  great?     Age,  thou  art 

sham'd! 
Rome,   thou   hast   lost   the   breed   of  noble 

bloods ! 
When  went  there  by  an  age,  since  the  great 

flood, 
But  it  was  fam'd  with  more  than  with  one 

man? 
When  could  they  say  till  now,  that  talk'd  of 

Rome, 
!          That  her  wide  walls  encompass'd  but   one 

man? 


06  JULIUS  CAESAR.         [ACT  I.  Sc.  u, 

Now  is  it  Rome  indeed  and  room  enough, 
When  there  is  in  it  but  one  only  man. 
0,  you  and  I  have  heard  our  fathers  say, 
There  was  a  Brutus  once  that  would  have 

brook'd 

The  eternal  devil  to  keep  his  state  in  Eome     leo 
As  easily  as  a  king. 

Bru.  That  you  do  love  me,  I  am  nothing  jealous; 
What  you  would  work  me  to,  I  have  some  aim  i 
How  I  have  thought  of  this  and  of  these 

times, 

I  shall  recount  hereafter;  for  this  present,      165 
I  would  not,  so  with  love  I  might  entreat  you, 
Be  any  further  mov'd.     What  you  have  said 
I  will  consider ;  what  you  have  to  say 
I  will  with  patience  hear,  and  find  a  time 
Both  meet  to  hear  and  answer  such  high  things.  ITO 
Till  then,  my  noble  friend,  chew  upon  this; 
Brutus  had  rather,  be  a  villager 
Than  to  repute  himself  a  son  of  Rome 
Under  these  hard  conditions  as  this  time 
Is  like  to  lay  upon  us.  i?i 

Gas.  I  am  glad  that  my  weak  words 

Have   struck   but   thus  much   show  of  fire 
from  Brutus. 

Bru.  The  games  are  done  and  Caesar  is  returning. 

Cas.  As  they  pass  by,  pluck  Casca  by  the  sleeve; 
And  he  will,  after  his  sour  fashion,  tell  you    tao 
What  hath  proceeded  worthy  note  to-day. 
Re-enter  Caesar  and  his  Train. 


ACT  I.  So.  ii.]        JULIUS  CAESAR.  57 

Bru.  I  will  do  so.     But,  look  you,  Cassius, 

The  angry  spot  doth  glow  on  Caesar's  brow, 
And  all  the  rest  look  like  a  chidden  train : 
165          Calpurnia's  cheek  is  pale;  and  Cicero 

Looks  with  such  ferret  and  such  fiery  eyes 
As  we  have  seen  him  in  the  Capitol, 
Being  cross 'd  in  conference  by  some  senators 
Gas.  Casca  will  tell  us  what  the  matter  is. 
w  Caes.  Antonius! 
Ant.  Caesar? 

Caes.  Let  me  have  men  about  me  that  are  fat : 
Sleek-headed  men  and  such  as  sleep  o'  nights: 
Yond  Cassius  has  a  lean  and  hungry  look ; 
<gv          He  thinks  too  much :    such  men  are  danger- 
ous. 
Ant.  Fear  him  not,  Caesar;  he's  not  dangerous; 

He  is  a  noble  Roman  and  well  given. 
Caes.  Would  he  were  fatter !     But  I  fear  him  not : 

Yet  if  my  name  were  liable  to  fear, 
coo          I  do  not  know  the  man  I  should  avoid 

So   soon  as  that   spare   Cassius.     He  reads 

much ; 

He  is  a  great  observer,  and  he  looks 
Quite  through  the  deeds  of  men;  he  loves  no 

plays, 

As  thou  dost,  Antony;  he  hears  no  music; 
a»          Seldom  he  smiles,  and  smiles  in  such  a  sort 
As   if   he   mock'd  himself  and   scorn'd   hip 

spirit 
That  could  be  mov'd  to  smile  at  any  thing. 


58  JULIUS  CAESAR.        (ACT  I.  So.  ii 

Such  men  as  he  he  never  at  heart's  ease 
Whiles  they  hehold  a  greater   than  them- 
selves, 

And  therefore  are  they  very  dangerous.  2 

I  rather  tell  thee  what  is  to  be  fear'd 
Than  what  I  fear;  for  always  I  am  Caesar. 
Come  on  my  right  hand,  for  this  ear  is  deaf, 
And  tell  me  truly  what  thou  think  'st  of  him. 
[Sennet.     Exeunt  Caesar  and  all  Ms  Train 
but  Casca. 

Casca.  You  pull'd  me  by  the  cloak ;   would  you  218 
speak  with  me? 

Bru.  Ay,  Casca;  tell  us  what  hath  chanc'd  to-day, 
That  Caesar  looks  so  sad. 

Casca.  Why,  you  were  with  him,  were  you  not  ? 

Bru.  I   should   not   then   ask    Casca   what   had  220 
chanc'd. 

Casca.  Why,  there  was  a  crown  offer 'd  him:  and 
being  offer'd  him,  he  put  it  by  with  the 
back  of  his  hand,  thus ;  and  then  the  people 
fell  a-shouting. 

Bru.  What  was  the  second  noise  for?  225 

Casca.  Why,  for  that  too. 

Cas.  They  shouted  thrice :   what  was  the  last  cry 
for? 

Casca.  Why,  for  that  too. 

.Bru.  Was  the  crown  offer'd  him  thrice? 

Casca.  Ay,  marry,  was't,  and  he  put  it  by  thrice,  230 
every  time  gentler  than  other ;   and  at  every 
putting-by  mine  honest  neighbours  shouted. 


ACT  I.  Sc.  ii]       JULIUS  CAESAR.  59 

Cas.  Who  offer'd  him  the  crown? 
Casca.  Why,  Antony. 
235  Bru.  Tell  us  the  manner  of  it,  gentle  Casca. 
Casca.  I  can  as  well  be  hang'd  as  tell  the  man- 
ner of  it:    it  was  mere  foolery;    I  did  not 
mark  it.     I  saw  Mark  Antony  offer  him  a 
crown;— yet    'twas    not    a    crown*  neither, 
240          'twas  one  of  these  coronets ;— and,  as  I  told 
you,  he  put  it  by  once :    but,  for  all  that,  to 
my  thinking,   he    would  fain  have   had  it. 
Then  he  offer'd  it  to  him  again ;  then  he  put 
it  by  again:    but,  to  my  thinking,  he  was 
very  loath   to   lay  his  fingers  off   it.     And 
then  he  offer'd  it  the  third  time;    he  put  it 
the  third  time  by:  and  still  as  he  refus'd  it, 
the   rabblement  shouted   and   olapp'd  their 
chapp'd  hands  and  threw  up  their  sweaty 
»o          night-caps  and  utter'd  such  a  deal  of  stink- 
ing breath  because  Caesar  refus'd  the  crown 
that  it   had  almost  chok'd  Caesar;   for  he 
swounded  and  fell  down  at  it :  and  for  mine 
own  part,  I  durst  not  laugh,  for  fear  of  open- 
ing my  lips  and  receiving  the  bad  air. 
Cas.  But,   soft,   I  pray  you:    what,   did   Caesar 

swound? 
Casca.  He  fell  down   in  the  market-place,   and 

foam'd  at  mouth,  and  was  speechless. 
Bru.   'Tis  very  like:  he  hath  the  falling  sickness 
50  Cas.  No,  Caesar  hath  it  not;  but  you  and  I 

And  honest  Casca,  we  have  the  falling-  sickness 


60  JULIUS  CAESAR.         rAcx  I.  Sc.  ii. 

Casca.  I  know  not  what  you  mean  by  that ;  but 
I  am  sure  Caesar  fell  down.  If  the  tag-rag 
people  did  not  clap  him  and  hiss  him,  ac- 
cording as  he  pleas 'd  and  displeas'd  them,  265 
as  they  use  to  do  the  players  in  the  theatre, 
I  am  no  true  man. 

Bru.  What  said  he  when  he  came  unto  himself? 

Casca.  Marry,  before  he  fell  down,  when  he 
perceiv'd  the  common  herd  was  glad  he  270 
refused  the  crown,  he  plucked / me/ope  his 
doublet  and  offer'd  them  his  throat  to  cut. 
An  I  had  been  a  man  of  any  occupation,  if 
I  would  not  have  taken  him  at  a  word,  I 
would  I  might  go  to  hell  among  the  rogues.  275 
And  so  he  fell.  When  he  came  to  himself 
again,  he  said,  If  he  had  done  or  said  any 
thing  amiss,  he  desir'd  their  worships  to 
think  it  was  his  infirmity.  Three  or  four 
wenches,  where  I  stood,  cried  "Alas,  good  280 
soul!"  and  forgave  him  with  all  their  hearts: 
but  there's  no  heed  to  be  taken  of  them ;  if 
Caesar  had  stabb'd  their  mothers,  they  would 
have  done  no  less. 

Bru.  And  after  that,  he  came,  thus  sad,  away?       285 

Casca.  Ay. 

Cas.  Did  Cicero  say  any  thing? 

Casca.  Ay,  he  spoke  Greek. 

Cas.  To  what  effect? 

Casca.  Nay,  an  I  tell  you  that,  I'll  ne'er  look  you  290 
i'  th'  face  again:    but  those  that  understood 


ACT  I.  Sc.  ii.]        JULIUS  CAESAR.  61 

him  smil'd  at  one  another  and  shook  their 
heads;  but,  for  mine  own  part,  it  was  Greek 
to  me.  I  could  tell  you  more  news  too: 
895  Marullus  and  Flavius,  for  pulling  scarfs  off 
Caesar's  images,  are  put  to  silence.  Fare 
you  well.  There  was  more  foolery  yet,  if  I 
could  remember  it. 

Cas.  Will  you  sup  with  me  to-night,  Casca? 
soo  Casca.  No,  I  am  promis'd  forth. 

Cas.  Will  you  dine  with  me  to-morrow? 

Casca.  Ay,  if  I  be  alive  and  your  mind  hold  and 

your  dinner  worth  the  eating. 
Cas.  Good:  I  will  expect  you. 

805  Casca.  Do  so.     Farewell,  both.  [Exit. 

Bru.  What  a  blunt  fellow  is  this  grown  to  be! 

He  was  quick  mettle  when  he  went  to  school. 
Cas.  So  is  he  now  in  execution 

Of  any  bold  or  noble  enterprise, 
8io          However  he  puts  on  this  tardy  form. 

This  rudeness  is  a  sauce  to  his  good  wit, 
Which  gives  men  stomach  to  digest  his  words 
With  better  appetite. 
Bru.   And  so  it  is.     For  this  time  I  will  leave 

you: 

815          To-morrow,  if  you  please  to  speak  with  me, 
I  will  come  home  to  you ;  or,  if  you  will, 
Come  home  to  me,  and  I  will  wait  for  you. 
Cas.  I  will  do  so :  till  then,  think  of  the  world. 

[Exit  Brutus. 
Well,  Brutus,  thou  art  noble ;  yet,  I  seef 


62  JULIUS  CAESAR.       [ACT  I.  Sc.  iii. 

Thy  honourable  metal  may  be  wrought  320 

From  that  it  is  disposed :  therefore  it  is  meet 
That  noble  minds  keep  ever  with  their  likes ; 
For  who  so  firm  that  cannot  be  seduc'd? 
Caesar   doth  bear   me  hard;    but  he  loves 

Brutus : 

If  I  were  Brutus  now  and  he  were  Cassius,      335 
He  should  not  humour  me.     I  will  this  night, 
In  several  hands,  in  at  his  windows  throw, 
As  if  they  came  from  several  citizens, 
"Writings  all  tending  to  the  great  opinion 
That   Eome   holds   of    his   name;     wherein  sso 

obscurely 

Caesar's  ambition  shall  be  glanced  at: 
And  after  this  let  Caesar  seat  him  sure; 
For  we  will  shake  him,  or  worse  days  endure. 

{Exit. 


SCENE  III. 

The  same.     A  street. 

Thunder  and  lightning.  Enter,  from  opposite 
sides,  Casca,  with  his  sword  drawn,  and 
Cicero. 

Cic.  Good    even,    Casca:     brought    you    Caesar 

home? 

Why  are  you  breathless?   and  why  stare  you 
so? 


ACT  1.  So.  iii.]        JULIUS  CAESAR.  63 

Casca.   Are  not  you  mov'd,  when  all  the  sway  of 

earth 

Shakes  like  a  thing  unfirm?  0  Cicero, 
5          I   have   seen   tempests,    when   the    scolding 

winds 

Have  riv'd  the  knotty  oaks,  and  I  have  seen 
The   ambitious   ocean   swell    and   rage   and 

foam, 

To  he  exalted  with  the  threat'ning  clouds: 
But  never  till  to-night,  never  till  now, 
to          Did  I  go  through  a  tempest  dropping  fire. 
Either  there  is  a  civil  strife  in  heaven, 
Or  else  the  world,  too  saucy  with  the  gods, 
Incenses  them  to  send  destruction. 
Cic.  Why,  saw  you  any  thing  more  wonderful? 
is  Casca.  A  common  islave — you  know  him  well  by 

sight — 
Held  up  his  left  hand,  which  did  flame  and 

burn 

Like  twenty  torches  join'd,  and'yet  his  hand, 
Not  sensible  of  fire,  remain'd  unscorch'd. 
Besides — I  ha'  not  since  put  up  my  sword — 
20          Against  the  Capitol  I  met  a  lion, 

Who  glared  upon  me,  and  went  surly  by, 
Without     annoying    me:     and    there     were 

drawn 

Upon  a  heap  a  hundred  ghastly  women, 
Transformed   with   their    fear;     who   swore 

they  saw 
»          Men  all  in  fire  walk  up  and  down  the  streets. 


64  JULIUS  CAESAR.        [ACT  I.  So.  iii. 

And  yesterday  the  bird  of  night  did  sit 
Even  at  noon-day  upon  the  market-place, 
Hooting  and  shrieking.    When  these  prodigies 
Do  so  conjointly  meet,  let  not  men  say 
"These  are  their  reasons;  they  are  natural;"  30 
For,  I  believe,  they  are  portentous  things 
Unto  the  climate  that  they  point  upon. 
Gic.  Indeed,  it  is  a  strange-disposed  time : 

But  men    may  construe   things   after   their 

fashion, 
Clean  from  the  purpose  of  the  things  them-  35 

selves. 

Comes  Caesar  to  the  Capitol  to-morrow? 
Gasca.  He  doth ;  for  he  did  bid  Antonius 

Send  word  to  you  he  would  be  there  to-mor- 
row. 
Cic.  Good  night  then,  Casca :  this  disturbed  sky 

Is  not  to  walk  in. 
Gasca.  Farewell,  Cicero.  40 

[Exit  Cicero. 
Enter  Cassius. 
Gas.  Who's  there? 
Casca.  A  Eoman. 

Cas.  Casca,  by  your  voice. 

Casca.  Your  ear  is  good.     Cassius,  what  night  is 

this! 

Cas.  A  very  pleasing  night  to  honest  men. 
Casca.  Who  ever  knew  the  heavens  menace  so? 
Cas.  Those  that  have  known  the  earth  so  full  of  « 
faults. 


ACT  I.  So.  iii.]       JULIUS  CAESAR.  65 

For  my  part,  I  have  walk'd  about  the  streets, 
Submitting  me  unto  the  perilous  night, 
And,  thus  unbraced,  Casca,  as  you  see, 
Have  bar'd  my  bosom  to  the  thunder-stone; 
so          And  when  the  cross  blue  lightning  seem'd  to 

open 

The  breast  of  heaven,  I  did  present  myself 
Even  in  the  aim  and  very  flash  of  it. 
Casca.  But  wherefore  did  you  so  much  tempt  the 

heavens? 

It  is  the  part  of  men  to  fear  and  tremble, 
65          When  the  most  mighty  gods  by  tokens  send 

Such  dreadful  heralds  to  astonish  us. 
Cas.  You  are  dull,  Casca,  and  those  sparks  of 

life 

That  should  be  in  a  Roman  you  do  want, 
Or  else  you  use  not.     You  look  pale  and  gaze 
eo          And  put  on  fear  and  cast  yourself  in  wonder, 
To  see  the  strange  impatience  of  the  heavens: 
But  if  you  would  consider  the  true  cause 
Why  all  these  fires,   why  all  these   gliding 

ghosts, 

Wliy  birds  and  beasts  from  quality  and  kind, 
65          Why  old  men,  fools,  and  children  calculate. 
Why   all   these    things    change   from    their 

ordinance 

Their  natures  and  preformed  faculties 
To  monstrous  quality,  why,  you  shall  find 
That  heaven  hath  infus'd  them  with  these 

spirits. 


66  JULIUS  CAESAR.       [ACT  I.  Sc.  iii. 

To  make  them  instruments  of  fear  and  warn-  TO 

ing 

Unto  some  monstrous  state. 
Now  could  I,  Casca,  name  to  thee  a  man 
Most  like  this  dreadful  night, 
That  thunders,  lightens,   opens  graves,  and 

roars 

As  doth  the  lion  in  the  Capitol,  75 

A  man  no  mightier  than  thyself  or  me 
In  personal  action,  jet  prodigious  grown 
And  fearful,  as  these  strange  eruptions  are. 
Casca.   'Tis  Caqsar  that  you  mean;  is  it  not,  Cas- 

sius? 

Gas.  Let  it  be  who  it  is :  for  Eomans  now  so 

Have  thews  and  limbs  like  to  their  ancestors ; 
But,  woe  the  while !    our  fathers'  minds  are 

dead,- 
And   we   are    govern 'd   with    our    mothers' 

spirits ; 

Our  yoke  and  sufferance  show  us  womanish. 
Casca.  Indeed,  they  say  the  senators  to-morrow     85 
Mean  to  establish  Caesar  as  a  king; 
And  he  shall  wear  his  crown  by  sea  and  land, 
In  every  place,  save  here  in  Italy. 
Gas.   I  know  where  I  will  wear  this  dagger  then; 
Cassius  from  bondage  will  deliver  Cassius :       90 
Therein,  ye  gods,  you  make  the  weak  most 

strong ; 

Therein,  ye  gods,  you  tyrants  do  defeat: 
Nor  stony  tower,  nor  walls  of  beaten  brassr 


ACT  I.  Sc.  iii.]       JULIUS  CAESAR.  67 

Nor  airless  dungeon,  nor  strong  links  of  iron, 
95          Can  be  retentive  to  the  strength  of  spirit ; 
But  life,  being  weary  of  these  worldly  bars, 
Never  lacks  power  to  dismiss  itself. 
If  I  know  this,  know  all  the  world  besides, 
That  part  of  tyranny  that  I  do  bear 
100          I  can  shake  off  at  pleasure. 

[TJiunder  still. 

Casca.  So  can  I : 

So  every  bondman  in  his  own  hand  bears 
The  power  to  cancel  his  captivity. 
Cas.  And  why  should  Caesar  be  a  tyrant  then? 
Poor  man !  I  know  he  would  not  be  a  wolf, 
105          But  that  he  sees  the  Eomans  are  but  sheep : 
He  were  no  lion,  were  not  Romans  hinds. 
Those  that  with  haste  will  make  a  mighty  fire 
Begin   it  with  weak  straws:    what  trash  is 

Rome, 

What  rubbish  and  what  offal,  when  it  serves 
no        '  For  the  base  matter  to  illuminate 

So  vile  a  thing  as  Caesar !     But,  0  grief, 
Where  hast  thou  led  me?     I  perhaps  speak 

this 

Before  a  willing  bondman ;  then  I  know 
My  answer  must  be  made.     But  I  am  arm'd, 
115          And  dangers  are  to  me  indifferent. 

Casca.  You  speak  to  Casca,  and  to  such  a  man 
That  is  no  fleering  tell-tale.     Hold,  my  hand? 
Be  factious  for  redress  of  all  these  griefs, 
And  I  will  set  this  foot  of  mine  as  far 


68  JTJLIUS  CAESAR.       [ACT  I.  Sc.  iii 

As  who  goes  farthest. 

Cas.  There's  a  bargain  made.  120 

Now  know  you,  Casca,  I  have  mov'd  already 
Some  certain  of  the  noblest-minded  Eomans 
To  undergo  with  me  an  enterprise 
Of  honourable- dangerous  consequence ; 
And  I  do  know,  by  this,  they  stay  for  me         125 
In  Pompey's  porch:    for  now,   this   fearful 

night, 

There  is  no  stir  or  walking  in  the  streets ; 
And  the  complexion  of  the  element 
In  favour  's  like  the  work  we  have  in  hand, 
Most  bloody,  fiery,  and  most  terrible.  130 

Casca.  Stand  close  awhile,  for  here  comes  one  in 

haste. 

Cas.   'Tis  Cinna;  I  do  know  him  by  his  gait; 
He  is  a  friend. 

Enter  Cinna. 

Cinna,  where  haste  you  so? 
Cm.  To  find  out  you.      Who's  that?     Metellus 

Cimber? 

Cas.  No,  it  is  Casca;  one  incorporate  135 

To   our  attempts.      Am   I   not   stay'd  for, 

Cinna? 
Gin.  I  am  glad  on't.     What  a  fearful  night  is 

this! 
There's  two  or  three  of  us  have  seen  strange 

sights. 

Cas.  Am  I  not  stay'd  for?  tell  me. 
Gin.  Yes,  you  are. 


ACT  I.  Sc.  iii.]       JULIUS  CAESAR.  69 

140          0  Cassius,  if  you  could 

But  win  the  noble  Brutus  to  our  party — 
Gas.  Be  you   content:     good    Cinna,   take  this 

paper, 

And  look  you  lay  it  in  the  praetor's  chair, 
Where  Brutus  may  but  find  it;  and  throw  this 
i4ft          In  at  his  window ;  set  this  up  with  wax 
Upon  old  Brutus'  statue:  all  this  done, 
Repair  to  Pompey's  porch,  where  you  shall 

find  us. 

Is  Decius  Brutus  and  Trebonius  there? 
Cin.  All  but  Metellus  Cimber;  and  he's  gone 
150          To  seek  you  at  your  house.     Well,  I  will  hie, 
And  so  bestow  these  papers  as  you  bade  me. 
Cas.  That  done,  repair  to  Pompey's  theatre. 

[Exit  Cinna. 

Come,  Casca,  you  and  I  will  yet  ere  day 
See  Brutus  at  his  house :  three  parts  of  him 
165          Is  ours  already,  and  the  man  entire 

Upon  the  next  encounter  yields  him  ours. 
Casca.  0,  he  sits  high  in  all  the  people's  heartb: 
And  that  which  would  appear  offence  in  us, 
His  countenance,  like  richest  alchemy, 
160          Will  change  to  virtue  and  to  worthiness. 
Cas.  Him  and  his  worth  and  our  great  need  of 

him 

You  have  right  well  conceited.     Let  us  go, 
For  it  is  after  midnight ;  and  ere  day 
We  ~vill  awake  him  and  be  sure  of  him. 

[Exeunt. 


ACT   SECOND. 

I. 


Rome.     Brutus's  orchard. 
Enter  Brutus. 

Bru.  What,  Lucius,  ho! 

I  cannot  by  the  progress  of  the  stars, 
Give  guess  how  near  to  day.     Lucius,  I  say! 
I  would  it  were  my  fault  to  sleep  .0  soundly. 
When,  Lucius,  when?   awake,  I  say!    what,  5 
Lucius  ! 

Enter  Lucius. 
Luc.  CalPd  you,  my  lord? 
Bru.  Get  me  a  taper  in  my  study,  Lucius  : 

V^hen  it  is  lighted,  come  and  call  me  here. 
Luc.  I  will,  my  lord.  [Exit. 

Bru.  It  must  be  by  his  death  :  and  for  my  part,     10 
I  know  no  personal  cause  to  spurn  at  him, 
But  for  the  general.     He  would  be  crown'd: 
How  that  might  change  his  nature,  there's 

the  question. 
It  is  the  bright  day  that  brings  forth   the 

adder  ; 
And  that  craves  wary  walking.     Crown  him  ?  is 

—  that  ;<  — 

And  then,  I  grant,  we  put  a  sting  in  him, 
That  at  his  will  he  may  do  danger  with. 

70 


ACT  II.  Sc.  i.]        JULIUS  CAESAR.  71 

The  abuse  of  greatness  is,  when  it  disjoins 
Remorse  from  power :  and,  to  speak  truth  of 

Caesar, 

*>          I  have  not  known  when  his  affections  swayed 
More  than  his  reason.     But  'tis  a  common 

proof, 

Thart  lowliness  is  young  ambition's  ladder, 
Whereto  the  climber  upward  turns  his  face; 
But  when  he  once  attains  the  upmost  round, 
86          He  then  unto  the  ladder  turns  his  back, 

Looks  in  the  clouds,  scorning  the  base  degrees 
By  which  he  did  ascend.     So  Caesar  may; 
Then,  lest  he  may,  prevent.     And,  since  the 

quarrel 

Will  bear  no  colour  for  the  thing  he  is, 
30          Fashion  it  thus ;  that  what  he  is,  augmented, 
Would  run  to  these  and  these  extremities: 
And  therefore  think  him  as  a  serpent's  egg 
Which,  hatch 'd,  would,  as  his  kind,  grow 

mischievous, 
And  kill  him  in  the  shell. 

Re-enter  Lucius. 

»  Luc.  The  taper  burneth  in  your  closet,  sir. 

Searching  the  window  for  a  flint,  I  found 
This  paper,  thus  seal'd  up;  and  I  am  sure 
It  did  not  lie  there  when  I  went  to  bed. 

[Gives  Mm  the  letter. 

Bru.  Get  you  to  bed  again ;  it  is  not  day. 
to          Is  not  to-morrow,  boy,  the  ides  of  March? 


72  JULIUS  CAESAR.        [ACT  II.  So.  i 

Luc.  I  know  not,  sir. 

Bru.  Look  in  the  calendar,  and  bring  me  word. 
Luc.   I  will,  sir.  [Exit. 

Bru.  The  exhalations  whizzing  in  the  air 

Give  so  much  light  that  I  may  read  by  them.  45 
[Opens  the  letter  and  reads. 

*Brutus,  thou  sleep'st:  awake,  and  see  thyself. 
Shall  Rome,  etc.     Speak,  strike,  redress ! " 

"Brutus,  thou  sleep'st:  awake!" 
Such  instigations  have  been  often  dropp'd 
Where  I  have  took  them  up.  50 

"Shall  Eome,  etc."     Thus  must  I  piece  it 

out: 
Shall   Rome   stand   under   one   man's    awe? 

What,  Rome? 

My  ancestors  did  from  the  streets  of  Rome 
The  Tarquin  drive,   when  he  was   call'd  a 

king. 

"Speak,  strike,  redress!"     Am  I  entreated     55 
To  speak  and  strike?     0  Rome,  I  make  thee 

promise ; 

If  the  redress  will  follow,  thou  receivest 
Thy  full  petition  at  the  hand  of  Brutus! 

Re-enter  Lucius. 

Luc.    Sir,  March  is  wasted  fifteen  days. 

[Knocking  within. 

Bru    'Tis   good.       Go    to    the   gate;    somebody  ee 
knocks.  [Exit  Lucius. 


ACT  II.  Sc.  i.]       JULIUS  CAESAR.  73 

Since    Cassius   first    did   whet    me    against 

Caesar, ' 

I  have  not  slept. 

Between  the  acting  of  a  dreadful  thing 
And-  the  first  motion,  all  the  interim  is 
<55          Like  a  phantasma,  or  a  hideous  dream: 
The  Genius  and  the  mortal  instruments 
Are  then  in  council ;  and  the  state  of  man, 
Like  to  a  little  kingdom,  suffers  then 
The  nature  of  an  insurrection. 

Re-enter   Lucius. 
70  Luc.  Sir,  'tis  your  brother  Cassius  at  the  door, 

Who  doth  desire  to  see  you. 
Bru.  Is  he  alone? 

Luc.  No,  sir,  there  are  moe  with  him. 
Bru.  Do  you  know  them? 

Luc.    No,  sir;  their  hats  are  pluck'd  about  their 

ears, 

And  half  their  faces  buried  in  their  cloaks, 
75          That  by  no  means  I  may  discover  them 

By  any  mark  of  favour. 
Bru.  Let  'em  enter. 

[Exit  Lucius. 

They  are  the  faction.     0  conspiracy > 
Sham'st  thou  to  show  thy  dang'rous  brow  by 

night, 

When  evils  are  most  free?     0,  then  by  day 
80          Where  wilt  thou  find  a  cavern  dark  enough 
To  mask  thy  monstrous  visage?     Seek  none, 
conspiracy ; 


74  JULIUS  CAESAR.         [ACT  II.  Sc.  i. 

Hide  it  in  smiles  and  affability : 

For  if  thou  path,  thy  native  semblance  on, 

Not  Erebus  itself  were  dim  enough 

To  hide  thee  from  prevention.  85 

Enter    the    conspirators,  Cassius,  Cased,  Decius^ 
Cinna,  Metellus  Cimber,  and  Trebonius. 

Cas.  I  think  we  are  too  bold  upon  your  rest: 
Good  morrow,  Brutus ;  do  we  trouble  you? 

Bru.  I  have  been  up  this  hour,  awake  all  night. 
Know  I  these  men  that  come  along  with  you? 

Cas.  Yes,  every  man  of  them ;  and  no  man  here     90 
But  honours  you ;  and  every  one  doth  wish 
You  had  but  that  opinion  of  yourself 
Which  every  noble  Eoman  bears  of  you. 
This  is  Trebonius. 

Bru.  He  is  welcome  hither. 

Cas.  This,  Decius  Brutus. 

Bru.  He  is  welcome  too.       95 

Cas.  This,  Casca;  this,  Cinna;    and  this,  Metel- 
lus Cimber. 

1\ru.  They  are  all  welcome. 

What  watchful  cares  do  interpose  themselves 
Betwixt  your  eyes  and  night? 

Cas.  Shall  I  entreat  a  word?  100 

[Brutus  and  Cassius  whisper. 

Dec.  Here  lies  the  east :    doth  not  the  day  break 
here? 

Casca.  No. 

.  0,  pardon,  sir,  it  doth;  and  yon  gray  lines 
That  fret  the  clouds  are  messengers  of  day. 


ACT  II.  Sc.  i.]        JULIUS  CAESAR.  75 

105  Casca.  You    shall    confess    that    you    are    both 

deceiv'd. 

Here,  as  I  point  my  sword,  the  sun  arises, 
Which  is  a  great  way  growing  on  the  south, 
Weighing  the  youthful  season  of  the  year. 
Some  two  months  hence  up  higher  toward 

the  north 
no          He  first  presents  his  fire ;  and  the  high  east 

Stands,  as  the  Capitol,  directly  here. 
Bru.  Give  me  your  hands  all  over,  one  by  one. 
Cas.  And  let  us  swear  our  resolution. 
Bru.  No,  not  an  oath :  if  not  the  face  of  men, 
H5          The    sufferance    of    our    souls,    the    time's 

abuse, — 

If  these  be  motives  weak,  break  off  betimes, 
And  every  man  hence  to  his  idle  bed; 
So  let  high-sighted  tyranny  range  on, 
Till  each  man  drop  by  lottery.     But  if  these, 
120          As  I  am  sure  they  do,  bear  fire  enough 

To  kindle  cowards  and  to  steel  with  valour 
The  melting  spirits  of  women,  then,  country- 
men, 

What  need  we  any  spur  but  our  own  cause, 
To  prick  us  to  redress?  what  other  bond 
!25          Than  secret  Romans,   that  have  spoke  the 

word, 

And  will  not  palter?  and  what  other  oath 
Than  honesty  to  honesty  engag'd, 
That  this  shall  be,  or  we  will  fall  for  it? 
Swear  priests  and  cowards  and  men  cautelous, 


76  JULIUS  CAESAR.         [ACT  II.  Sc.  i. 

Old  feeble  carrions  and  such  suffering  souls     iao 
That  welcome  wrongs ;  unto  bad  causes  swear 
Such  creatures  as  men  doubt;    but  do  not 

stain 

The  even  virtue  of  our  enterprise, 
Nor  th'  insuppressive  mettle  of  our  spirits, 
To  think  that  or  our  cause  or  our  perform-  135 

ance 

Did  need  an  oath ;  when  every  drop  of  blood 
That  every  Roman  bears,  and  nobly  bears, 
Is  guilty  of  a  several  bastardy, 
If  he  do  break  the  smallest  particle 
Of  any  promise  that  hath  pass'd  from  him.      HO 
Cas.  But  what  of  Cicero?  shall  we  sound  him? 
I  think  he  will  stand  very  strong  with  us. 
Casca.  Let  us  not  leave  him  out. 
Cin.  No,  by  no  means. 

Met,   0,  let  us  have  him,  for  his  silver  hairs 

Will  purchase  us  a  good  opinion  145 

And   buy   men's    voices    to    commend    our 

deeds : 
It   shall   be    said,    his   judgment    rul'd   our 

hands ; 

Our  youths  and  wildness  shall  no  whit  appear. 
But  all  be  buried  in  his  gravity. 
Bru.   0,  name  him  not:    let  us  not  break  with  150 

him; 

For  he  will  never  follow  any  thing 
That  other  men  begin. 
Cas.  Then  leave  him  out. 


ACT  II.  Sc.  i.]        JULIUS  CAESAR.  77 

Casca.  Indeed  he  is  not  fit. 
'    Dec.    Shall   no   man   else   be   touch'd    but   only 

Caesar? 

IBS  Cas.  Decius,  well  urg'd:  I  think  it  Is  not  meet, 
Mark  Antony,  so  well  belov'd  of  Caesar, 
Should  outlive  Caesar :  we  shall  find  of  him 
A   shrewd   contriver;    and,    you   know,    his 

means, 

If  he  improve  them,  may  well  stretch  so  far 
160          As  to  aunoy  us  all :  which  to  prevent, 
Let  Antony  and  Caesar  fall  together. 
Bru.  Our   course   will   seem   too   bloody,   Caius 

Cassias, 

To  cut  the  head  off  and  then  hack  the  limbs, 
Like  wrath  in  death  and  envy  afterwards; 
165          For  Antony  is  but  a  limb  of  Caesar : 

Let  us  be  sacrificers,  but  not  butchers,  Caius. 
We  all  stand  up  against  the  spirit  of  Caesar; 
And  in  the  spirit  of  men  there  is  no  blood- 
0,  that   we   then   could   come   by   Caesars 

spirit, 
170          And  not  dismember  Caesar!     But,  alas, 

Caesar    must    bleed    for    it!      And,    gentle 

friends, 

Let's  kill  him  boldly,  but  not  wrathfully; 
Let's  carve  him  as  a  dish  fit  for  the  gods, 
Not  hew  him  as  a  carcass  fit  for  hounds : 
ITO          And  let  our  hearts,  as  subtle  masters  do, 
Stir  up  their  servants  to  an  act  of  rage, 
And  after  seem  to  chide  'em.    This  shall  make 


78  JULIUS  CAESAR.        [ACT  II.  So.  i 

Our  purpose  necessary  and  not  envious: 
Which  so  appearing  to  the  common  eyes, 
We  shall  be  call'd  purgers,  not  murderers.       iso 
And  for  Mark  Antony,  think  not  of  him; 
For  he  can  do  no  more  than  Caesar's  arm 
When  Caesar's  head  is  off. 

Gas.  Yet  I  fear  him; 

For  in  the  ingrafted  love  he  bears  to  Caesar — - 

Bru.  Alas,  good  Cassius,  do  not  think  of  him :       iss 
If  he  love  Caesar,  all  that  he  can  do 
Is   to   himself,    take    thought   and    die   for 

Caesar : 
And  that  were  much  he  should;    for  he  is 

given 
To  sports,  to  wildness  and  much  company. 

Treb.  There  is  no  fear  in  him;  let  him  not  die;      190 
For  he  will  live,  and  laugh  at  this  hereafter. 

[Clock  strikes. 

Bru.  Peace!  count  the  clock. 

Gas.  The  clock  hath  stricken  three. 

Treb.    'Tis  time  to  part. 

Cas.  But  it  is  doubtful  yet, 

Whether  Caesar  will  come  forth  to-day,  or  no ; 
For  he  is  superstitious  grown  of  late,  195 

Quite  from  the  main  opinion  he  held  once 
Of  fantasy,  of  dreams  and  ceremonies : 
It  may  be,  these  apparent  prodigies, 
The  unaccustom'd  terror  of  this  night, 
And  the  persuasion  of  his  augurers, 
May  hold  him  from  the  Capitol  to-day. 


ACT  II.  Sc.  i.]        JULIUS  CAESAR.  79 

Dec.  Never  fear  that :  if  he  be  so  resolv'd, 
I  can  o'ersway  him;  for. he  loves  to  hear 
That  unicorns  may  be  betray 'd  with  trees, 
aos          And  bears  with  glasses,  elephants  with  holes, 
Lions  with  toils  and  men  with  flatterers; 
But  when  I  tell  him  he  hates  flatterers, 
He  says  he  does,  being  then  most  flattered. 
Let  me  work ; 
wo          For  I  can  give  his  humour  the  true  bent, 

And  I  will  bring  him  to  the  Capitol. 
Cas.  Nay,  we  will  all  of  us  be  there  to  fetch  him. 
Bru.  By  the  eighth  hour,  is  that  the  uttermost? 
Gin.  Be  that  t^e  uttermost,  and  fail  not  then. 
•2iP  Met.  Caius  Ligarius  doth  bear  Caesar  hard, 

Who  rated  him  for  speaking  well  of  Pompey : 
I  wonder  none  of  you  have  thought  of  him. 
Bru.  Now,  good  Metellus,  go  along  by  him: 

He  loves  me   well,   and   I  have  given  him 

reasons ; 

220          Send  him  but  hither,  and  I'll  fashion  him. 
Cas.  The  morning  comes  upon    's:    well  leave 

you,  Brutus. 
And,   friends,   disperse   yourselves;    but   all 

remember 
What  you  have    said,   and  show  yourselves 

true  Romans. 

Bru.   Good  gentlemen,  look  fresh  and  merrily; 
225          Let  not  our  looks  put  on  our  purposes, 
But  bear  it  as  our  Roman  actors  do, 
With  untir'd  spirits  and  formal  constancv; 


SO  JULIUS  CAESAR.        [Aor  II.  Sa  1 

And  so  good  morrow  to  you  every  one. 

[Exeunt  all  but  Brutus. 

Boy!  Lucius!     Fast  asleep?     It  is  no  matter; 
Enjoy  the  honey-heavy  dew  of  slumber:  330 

Thou  hast  no  figures  nor  no  fantasies, 
Which  busy  care  draws  in  the  brains  of  men: 
Therefore  thou  sleep'st  so  sound. 

Enter  Portia. 

For.  Brutus,  my  lord! 

Bru.  Portia,  what  mean  you?  wherefore  rise  you 

now? 

It  is  not  for  your  health  thus  to  commit  235 

Your  weak  condition  to  the  raw  cold  morning. 
Por.  Nor  for  yours  neither.     You've  ungently, 

Brutus, 

Stole  from  my  bed :  and  yesternight,  at  sup- 
per, 

You  suddenly  arose,  and  walk'd  about, 
Musing  and  sighing,  with  your  arms  across,     240 
And  when  I  ask'd  you  what  the  matter  was. 
You  star'd  upon  me  with  ungentle  looks; 
I  urg'd  you  further;  then  you  scratch'd  your 

head, 

And  too  impatiently  stamp'd  with  your  foot; 
Yet  I  insisted;  yet  you  answer'd  not,  245 

But,  with  an  angry  waf ture  of  your  hand, 
Gave  sign  for  me  to  leave  you :  so  I  did ; 
Fearing  to  strengthen  that  impatience 
Which  seem'd  too  much  enkindled,  and  withal 
Hoping  it  was  but  an  effect  of  humour,  250 


ACT  II.  So.  i.J        JULIUS  CAESAR.  81 

Which  sometime  hwtj.  his  hour  with  every 

man. 

It  will  not  let  you  eat,  nor  talk,  nor  sleep, 
And  could  it  work  so  much  upon  your  shape 
As  it  hath  much  prevail'd  on  your  condition, 

ass          I  should  not  know  you,  Brutus.     Dear  my 

lord, 

Make  me  acquainted  with  your  cause  of  griet 
Bru.  I  am  not  well  in  health,  and  that  is  all. 
Por.  Brutus  is  wise,  and,  were  he  not  in  health, 
He  would  embrace  the  means  to  come  by  it. 

360  Bru.  Why,  so  I  do.     Good  Portia,  go  to  bed. 
Por.  Is  Brutus  sick?  and  is  it  physical 

To  walk  unbraced  and  suck  up  the  humours 
Of  the  dank  morning?  What,  is  Brutus  sick, 
And  will  he  steal  out  of  his  wholesome  bed, 

3«          To  dare  the  vile  contagion  of  the  night 

And  tempt  the  rheumy  and  unpurged  air 
To  add  unto  his  sickness?     No,  my  Brutus; 
You  have  some  sick  offence  within  your  mind, 
Which,  by  the  right  and  virtue  of  my  place, 

arc          I  ought  to  know  of:  and,  upon  my  knees, 

I  charm  you,  by  my  once  commended  beauty, 
By  all  your  vows  of  love  and  that  great  vow 
Which  did  incorporate  and  make  us  one, 
That  you  unfold  to  me,  yourself,  your  half, 

3T5          Why  you  are  heavy,  and  what  men  to-night 
Have  had  resort  to  you :  for  here  have  been 
Some  six  or  seven,  who  did  bide  their  faces 
Even  from  darkness. 


82  JULIUS  CAESAR.        [ACT  IL  So.  i. 

Bni.  Kneel  not,  gentle  Portia. 

f*?r.  I    should    not    need,   if    you   were    gentle 

Brutus. 

Within  the  bond  of  marriage,  tell  me,  Brutus,  28c 
Is  it  excepted  I  shpuld  know  no  secrets 
That  appertain  to  you?     Am  I  yourself 
But,  as  it  were,  in  sort  or  limitation, 
To  keep  with  you  at  meals,  comfort  your  bed, 
And  talk  to  you  sometimes?     Dwell  I  but  in  285 

the  suburbs 

Of  your  good  pleasure?     If  it  be  no  more, 
Portia  is  Brutus'  harlot,  not  his  wife. 

Bru.  You  are  my  true  and  honourable  wife, 
As  dear  to  me  as  are  the  ruddy  drops 
That  visit  my  sad  heart.  290 

Por.  If  this  were  true,  then  should  I  know  this 

secret. 

I  grant  I  am  a  woman ,  but  withal 
A  woman  that  Lord  Brutus  took  to  wife: 
I  grant  I  am  a  woman ;  but  withal 
A  woman  well-reputed,  Cato's  daughter.  295 

Think  you  I  am  no  stronger  than  my  sex, 
Being  so  father'd  and  so  husbanded? 
Tell  me  your  counsels,  I  will  not  disclose  'em: 
I  have  made  strong  proof  of  my  constancy, 
Giving  myself  a  voluntary  wound  soo 

Here,  in  the  thigh:    can  I  bear  that  with 

patience, 
And  not  my  husband's  secrets? 

Bru.  0  ye  gods! 


ACT  II.  Sc.  i.]       JULIUS  CAESAR.  83 

Bender  me  worthy  of  this  noble  wife ! 

[Knocking  trithin. 
Hark,    hark!    one    knocks:     Portia,    go    in 

awhile ; 

we          And  by  and  by  thy  bosom  shall  partake 
The  secrets  of  my  heart. 
All  my  engagements  I  will  construe  to  thee, 
All  the  charactery  of  my  sad  brows : 
Leave  me  with  haste.  [Exit  Portia.] 

Lucius,  who's  that  knocks? 
Re-enter  Lucius  with  Ligarius. 

sio  Luc.    Here  is  a  sick  man  that  would  speak  with 

you. 

Bru.  Caius  Ligarius,  that  Metellus  spake  of. 
Boy,  stand  aside.     Caius  Ligarius!  how? 
Lig.    Vouchsafe    good    morrow    from    a    feeble 

tongue. 
Bru.  0,  what  a  time  have  you  chose  out,  brave 

Caius, 
MS          To  wear  a  kerchief!     Would  you  were  not 

sick! 
Lig.  I  am  not  sick,  if  Brutus  have  in  hand: 

Any  exploit  worthy  the  name  of  honour. 
Bru.  Such  an  exploit  have  I  in  hand,  Ligarius, 

Had  you  a  healthful  ear  to  hear  of  it. 
sao  Lig.  By  all  the  gods  that  Eomans  bow  before, 

I  here  discard  my  sickness !     Soul  of  Eome ! 
Brave  son,  deriv'd  from  honourable  loins! 
Thou,  like  an  exorcist,  hast  conjur'd  up 
My  mortified  spirit.     Now  bid  me  run. 


84  JULIUS  CAESAR.       [ACT  II.  So.  ii. 

And  I  will  strive  with  things  impossible;          i 

Yea,  get  the  better  of  them.     What's  to  do? 
Bru.  A  piece  of  work  that  will  make  sick  men 

whole. 
Lig.  But  are  not  some  whole  that  we  must  make 

sick? 
Bru.  That  must  we  also.     What  it  is,  my  Caius, 

I  shall  unfold  to  thee,  as  we  are  going 

To  whom  it  must  be  done. 
Lig.  Set  on  your  foot, 

And  with  a  heart  new-fir'd  I  follow  you, 

To  do  I  know  not  what :  but  it  sufficeth 

That  Brutus  leads  me  on. 

Bru.  Follow  me,  then. 

[Exeunt. 


SCENE  II. 

Caesar's  house. 

Thunder  and  lightning.      Enter  Caesar^  in  Ms 

night-gown. 

Caes.  Nor  heaven  nor  earth  have  been  at  peace 

to-night : 

Thrice  hath  Calpurnia  in  her  sleep  cried  out, 
"Help!  ho!   they  murther  Caesar!"     Who's 
within? 

Enter  a  Servant. 
Serv.  My  lord? 


ACT  II.  Sc.  ii.]      JULIUS  CAESAR.  85 

5  Caes.  Go  bid  the  priests  do  present  sacrifice 
And  bring  me  their  opinions  of  success. 
Serv.  I  will,  my  lord.  [Exit. 

Enter  Calpurnia. 
CaL  What  mean  you,  Caesar?  think  you  to  walk 

forth? 

You  shall  not  stir  out  of  your  house  to-day. 
10  Caes.  Caesar  shall  forth :   the  things  that  threat- 

en'd  me 
Ne'er  look'd  but  on  my  back;    when  they 

shall  see 

The  face  of  Caesar,  they  are  vanished. 
CaL  Caesar,  I  never  stood  on  ceremonies, 

Yet  now   they  fright    me.      There   is    one 

within, 
is          Besides  the  things  that  we  have  heard  and 

seen, 
Recounts   most    horrid   sights    seen  by   the 

watch. 

A  lioness  hath  whelped  in  the  streets ; 
And  graves  have  yawn'd,   and  yielded  up 

their  dead; 

Fierce  fiery  warriors  fight  upon  the  clouds, 
30          In  ranks  and  squadrons  and  right  form  of 

war, 

Which  drizzled  blood  upon  the  Capitol ; 
The  noise  of  battle  hurtled  in  the  air, 
Horses  did  neigh,  and  dying  men  did  groan, 
And  ghosts  did  shriek  and  squeal  about  the 
streets. 


86  JULIUS  CAESAR.       [ACT  II  Sa  ii. 

0  Caesar!  these  things  are  beyond  all  use,       25 
And  I  do  fear  them. 

Gaes.  .-      What  can  be  avoided 

Whose  end  is  purposed  by  the  mighty  gods? 
Yet  Caesar  shall  go  forth ;    for  these  predic- 
tions 

Are  to  the  world  in  general  as  to  Caesar. 
Cdl.  When  beggars  die,  there  are  no  comets  seen;  so 
The  heavens  themselves  blaze  forth  the  death 

of  princes. 

Caes.   Cowards  die  many  times  before  their  deaths ; 
The  valiant  never  taste  of  death  but  once. 
Of  all  the  wonders  that  I  yet  have  heard, 
It  seems  to  me  most  strange  that  men  should  35 

fear, 

Seeing  that  death,  a  necessary  end, 
Will  come  when  it  will  come. 
Re-enter  Servant. 

What  say  the  augurers? 

Serv.    They  would  not  have  you  to  stir  forth  to- 
day. 

Plucking  the  entrails  of  an  offering  forth, 
They  could  not  find  a  heart  within  the  beast.  40 

Caes.    The  gods  do  this  in  shame  of  cowardice: 
Caesar  should  be  a  beast  without  a  heart 
If  he  should  stay  at  home  to-day  for  fear. 
No,  Caesar  shall  not :  danger  knows  full  well 
That  Caesar  is  more  dangerous  than  he:  45 

We  are  two  lions  litter 'd  in  one  day, 
dnd  I  the  elder  and  more  terrible: 


ACT  II.  Sc.  ii.]       JULIUS  CAESAR.  87 

And  Caesar  shall  go  forth. 
Cdl.  Alas,  my  lord, 

Your  wisdom  is  consum'd  in  confidence. 
•50          Do  not  go  forth  to-day:  call  it  my  fear 

That  keeps  you  in  the  house,  and  not  your 

own. 

We'll  send  Mark  Antony  to  the  senate-house; 
And  he  shall  say  you  are  not  well  to-day: 
Let  me,  upon  my  knee,  prevail  in  this. 

65  Caes.  Mark  Antony  shall  say  I  am  not  well; 

And,  for  thy  humour,  I  will  stay  at  home. 

Enter  Decius. 

Here's  Decius  Brutus,  he  shall  tell  them  so. 
Dec.    Caesar,    all    hail!     good    morrow,    worthy 

Caesar: 

I  come  to  fetch  you  to  the  senate-house. 
60  Caes.  And  you  are  come  in  very  happy  time, 
To  bear  my  greetings  to  the  senators 
And  tell  them  that  I  will  not  come  to-day: 
Cannot,  is  false,  and  that  I  dare  not,  falser: 
I  will  not  come  to-day :  tell  them  so,  Decius. 

66  Cal.  Say  he  is  sick. 

Caes.  Shall  Caesar  send  a  lie? 

Have  I  in  conquest  stretch'd  mine  arm  so  far, 
To  be  afeard  to  tell  graybeards  the  truth? 
Decius,  go  tell  them  Caesar  will  not  come. 
Dec.  Most    mighty   Caesar,   let   me  know   some 

cause, 

TO          Lest  I  be  laugh 'd  at  when  I  tell  them  so. 
Caes.  The  cause  is  in  my  will:  I  will  not  come} 


88  JULIUS  CAESAR.       [ACT  II.  Sc  h. 

That  is  enough  to  satisfy  the  senate. 
But  for  your  private  satisfaction, 
Because  I  love  you,  I  will  let  you  know: 
Calpurnia  here,  my  wife,  stays  me  at  home:    75 
She  dreamt  to-night  she  saw  my  statue, 
Which,    like   a   fountain   with    an    hundred 

spouts, 

Did  run  pure  blood ;  and  many  lusty  Romans 
Came  smiling,  and  did  bathe  their  hands  in 

it: 
And  these  does  she  apply  for  warnings,  and  so 

portents, 

And  evils  imminent ;  and  on  her  knee 
Hath  begg'd  that  I  will  stay  at  home  to-day. 
Dec.  This  dream  is  all  amiss  interpreted; 
It  was  a  vision  fair  and  fortunate : 
Your  statue  spouting  blood  in  many  pipes,      85 
In  which  so  many  smiling  Romans  bath'd, 
Signifies  that  from  you  great  Rome  shall  suck 
Reviving  blood,   and   that   great   men   shall 

press 

For  tinctures,  stains,  relics  and  cognizance. 
This  by  Calpurnia's  dream  is  signified.  «o 

Caes.  And  this  way  have  you  well  expounded  it. 
Dec.   I  have,  when  you  have  heard  what  I  can 

say: 

And  know  it  now :  the  senate  have  concluded 
To  give  this  day  a  crown  to  mighty  Caesar. 
If  you  shall  send  them  word  you  will  not  85 

come, 


ACT  II.  So.  ii.]      JULIUS  CAESAR.  89 

Their  minds  may  change.     Besides,  it  were  a 

mock 

Apt  to  be  render'd,  for  some  one  to  say, 
"Break  up  the  senate  till  another  time, 
When  Caesar's  wife  shall  meet  with  better 

dreams." 
100          If    Caesar     hide     himself,    shall    they    not 

whisper, 

"Lo,  Caesar  is  afraid?" 
Pardon  me,  Caesar;  for  my  dear  dear  love 
To  your  proceeding  bids  me  tell  you  this ; 
And  reason  to  my  love  is  liable. 
105  Caes.  How    foolish    do   your    fears    seem    now, 

Calpurnia ! 

I  am  ashamed  I  did  yield  to  them. 
Give  me  my  robe,  for  I  will  go. 

Enter  Publius,  Brutus,  Ligarius,  Metellus, 
Casca,  Trebonius,  and  Cinna. 

And  look  where  Publius  is  come  to  fetch  me. 
Pub.  Good  morrow,  Caesar. 
Caes.  Welcome,  Publius. 

no          What,  Brutus,  are  you  stirr'd  so  early  too? 
Good  morrow,  Casca.     Caius  Ligarius, 
Caesar  was  ne'er  so  much  your  enemy 
As  that  same  ague  which  hath  made  you  lean. 
What  is  't  o'clock? 

Bru.  Caesar,  't  is  strucken  eight 

us  Caes.  I  thank  you  for  your  pains  and  courtesy 
Enter  Antony. 


90  JULIUS  CAESAR.      [ACT  II.  So,  iii. 

See!  Antony,  that  revels  long  o'  nights, 

Is     notwithstanding     up.       Good     morrow, 

Antony. 

Ant.  So  to  most  noble  Caesar. 
Caes.  Bid  them  prepare  within: 

I  am  to  blame  to  be  thus  waited  for. 
Now,    Cinna:    now,    Metellus:     what,    Tre-  120 

bonius ! 

I  have  an  hour's  talk  in  store  for  you; 
Remember  that  you  call  on  me  to-day: 
Be  near  me,  that  I  may  remember  you. 
Treb.   Caesar,  I  wTill:    [Aside]    and  so  near  will 

I  be, 
That  your  best  friend?  shall  wish  I  had  been  125 

further. 
Caes.  Good  friends,  go  in,  and  taste  some  wine 

with  me; 
And  we,  like  friends,   will    straightway  go 

together. 
Bru.  [Aside]  That  every  like  is  not  the  same,  0 

Caesar, 

The  heart  of  Brutus  yearns  to  think  upon ! 

[Exeunt? 

SCESTE   III. 

A  street  near  the  Capitol. 
Enter  Artemidorus^  reading  a  paper. 
4r£.     Caesar,  beware  of  Brutus;  take  heed  of  Cassiusj 
come  not  near  Casca :  have  an  eye  to  Cinna ;  trust 


ACT  II.  So.  iv.J     JULIUS  CAESAR.  91 

not  Trebonius ;  mark  well  Metellus  Gimber :  Decius 
Brutus  loves  thee  not:  thou  hast  wronged  Caius 

5  Ligarius.     There  is  but  one  mind  in  all  these  men, 
and  it  is  bent  against  Caesar.     If  thou  beest  not 
immortal,  look  about  you:  security  gives  way  to 
conspiracy.    The  mighty  gods  defend  thee !    Thy 
lover,  ARTEMIDOBUS. 

10          Here  will  I  stand  till  Caesar  pass  along, 

And  as  a  suitor  will  I  give  him  this. 

My  heart  laments  that  virtue  cannot  live 

Out  of  the  teeth  of  emulation. 

If  thou  read  this,  0  Caesar,  thou  mayst  live 
15          If  not,  the  Fates  with  traitors  do  contrive. 

[Exii. 

SCENE  IV. 

Another  part  of  the  same  street ,  before  the 
house  of  Brutus. 

Enter  Portia  and  Lucius. 

Par.  I  prithee,  boy,  run  to  the  senate-house; 

Stay  not  to  answer  me,  but  get  thee  gone: 

Why  dost  thou  stay? 

Luc.  To  know  my  errand,  madam. 

Por.  I  would  have  had  thee  there,  and  here  again, 

6  Ere  I  can  tell  thee  what  thou  shouldst  do 

there. 

0  constancy,  be  strong  upon  my  side, 
Set  a  huge  mountain  'tween  my  heart  and 

tongue ! 


92  JULIUS  CAESAR.      [ACT  II.  So.  iv. 

I  have  a  man's  mind,  but  a  woman's  might. 

How  hard  it  is  for  women  to  keep  counsel ! 

Art  thou  here  yet? 
Luc.  Madam,  what  should  I  do?  10 

Eun  to  the  Capitol,  and  nothing  else? 

And  so  return  to  you,  and  nothing  else? 
For.  Yes,  bring  me  word,  boy,  if  thy  lord  look 
well, 

For  he  went  sickly  forth :  and  take  good  note 

What  Caesar  doth,  what  suitors  press  to  him.  15 

Hark,  boy!  what  noise  is  that? 
Luc.  I  hear  none,  madam. 
For.  Prithee,  listen  well; 

I  heard  a  bustling  rumour,  like  a  fray, 

And  the  wind  brings  it  from  the  Capitol. 
Luc.   Sooth,  madam,  I  hear  nothing.  28 

Enter  the  Soothsayer. 

For.    Come  hither,  fellow :  which  way  hast  thou 
been? 

Sooth.  At  mine  own  house,  good  lady. 

For.  What  is  't  o'clock? 

Sooth.  About  the  ninth  hour,  lady. 

For.  Is  Caesar  yet  gone  to  the  Capitol? 

Sooth.  Madam,  not  yet:  I  go  to  take  my  stand,      % 
To  see  him  pass  on  to  the  CapitoL 

For.  Thou  hast  some  suit  to  Caesar,  hast  thou  not? 

Sooth.  That  I  have,  lady:  if  it  will  please  Caesar 
To  be  so  good  to  Caesar  as  to  hear  me, 
I  shall  beseech  him  to  befriend  himself.  so 


ACT  II  Sc.  iv.j      JULIUS  CAESAR.  93 

Por.    Why,    know'st  thou  any  harm's  intended 

towards  him? 
Sooth.  None  that  I  know  will  be,  much  that  I  fear 

may  chance. 
Good  morrow  to  you.     Here    the   street   is 

narrow: 

The  throng  that  follows  Caesar  at  the  heels, 
35          Of  senators,  of  praetors,  common  suitors, 
Will  crowd  a  feeble  man  almost  to  death : 
I'll  get  me  to  a  place  more  void,  and  there 
Speak  to  great  Caesar  as  he  comes  along. 

[Exit. 

Por.  I  must  go  in.     Ay  me,  how  weak  a  thing 
40          The  heart  of  woman  is!     0  Brutus, 

The  heavens  speed  thee  in  thine  enterprise! 
[To  herself]    Sure,  the  boy  heard  me:  [To 

Lucius]  Brutus  hath  a  suit 
That  Caesar  will  not  grant.     0, 1  grow  faint. 
Kun,  Lucius,  and  commend  me  to  my  lord; 
#          Say  I  am  merry:  come  to  me  again, 

And  bring  me  word  what  he  doth  say  to  thee. 

[Exeunt  severally 


ACT  THIKD, 

SCENE  I. 

Rome.     Before  the  Capitol. 

A  crowd  of  people;  among  them  Artemidorus  and 
the  Soothsayer.  Flourish.  Enter  Caesar , 
Brutus,  Cassius,  Casca,  Deems,  Metellus, 
Trebonius,  Cinna,  Antony,  Lepidus\  Popi- 
lius,  Publius,  and  others. 

tlaes.   [To  the  Soothsayer.'}  The  ides  of  March  are 
come. 

Sooth.  Ay,  Caesar;  but  not  gone. 

Art.  Hail,  Caesar!  read  this  schedule. 

Dec.  Trebonius  doth  desire  you  to  o'er-read, 

At  your  best  leisure,  this  his  humble  suit.        6 

Art.  0  Caesar,  read  mine  first;  for  mine's  a  suit 
That  touches  Caesar  nearer:  read  it,  great 
Caesar. 

Caes.  What  touches  us  ourself  shall  be  last  served. 

Art.  Delay  not,  Caesar;  read  it  instantly. 

Caes.  What,  is  the  fellow  mad? 

Pub.  Sirrah,  give  place,  ic 

Cas.  What,  urge  you  your  petitions  in  the  street? 
Come  to  the  Capitol. 

Caesar  goes  up  to  the  Senate-House,  the  rest  fol- 
lowing. 

Pop.  I  wish  your  enterprise  to-day  may  thrive. 


ACT  III.  So.  i.]       JULIUS  CAESAR.  95 

Cas.  What  enterprise,  Popilius? 
Pop.  Fare  you  well. 

[Advances  to  Caesar. 
1  is  Bru.  What  said  Popilius  Lena? 

Cas.  He   wished    to-day    our    enterprise    might 

thrive. 

I  fear  our  purpose  is  discovered. 
Bru.  Look,  how  he  makes  to  Caesar:  mark  him. 
Cas.  Casca,  be  sudden,  for  we  fear  prevention. 
20          Brutus,    what   shall   be    done?     If    this    be 

known, 

Cassius  or  Caesar  never  shall  turn  back, 
For  I  will  slay  myself. 

Bru.  Cassius,  be  constant: 

Popilius  Lena  speaks  not  of  our  purposes; 
For,  look,  he  smiles,  and  Caesar  doth  not 

change. 
as  Cas.  Trebonius  knows  his  time;  for,  look  you, 

Brutus, 
He  draws  Mark  Antony  out  of  the  way. 

[Exeunt  Antony  and  Trebonius. 
Dec.  .Where  is  Metellus  Cimber?     Let  him  go, 

And  presently  prefer  his  suit  to  Caesar. 
Bru.  He  is  addressed:  press  near  and  second  him. 
ao  Gin.  Casca,  you  are  the  first  that  rears  your  hand. 
Caes.  Are  we  all  ready?     What  is  now  amiss 

That  Caesar  and  his  senate  must  redress? 
Met.  Most  high,  most  mighty,  and  most  puissant 

Caesar, 
Metellus  Cimber  throws  before  thy  seat 


96  JULIUS  CAESAR,      [ACT  III.  be.  i. 

An  humble  heart, —  [Kneeling. 

Caes.  1  must  prevent  thee,  Cimber.  85 

These  crouchings  and  these  lowly  courtesies 
Might  fire  the  blood  of  ordinary  men, 
And  turn  pre-ordinance  and  first  decree 
Into  the  law  of  children.     Be  not  fond, 
To  think  that  Caesar  bears  such  rebel  blood  40 
That  will  be  thaw'd  from  the  true  quality 
With  that  which  melteth  fools ;  I  mean,  sweet 

words, 

Low-crooked  court 'sies  and  base  spaniel -fawn- 
ing. 

Thy  brother  by  decree  is  banished : 
If  thou  dost  bend   and  pray  and  fawn   for  & 

him. 

i  spurn  thee  like  a  cur  out  of  my  way. 
Know,  Caesar  doth  not  wrong,  nor  without 

cause 
Will   he   be   satisfied. 

Met.  Is  there  no  voice  more  worthy  than  my  own, 
To  sound  more  sweetly  in  great  Caesar's  ear  so 
For  the  repealing  of  my  banish'd  brother? 

JBru.  I  kiss  thy  hand,  but  not  in  flattery,  Caesar; 
Desiring  thee  that  Publius  Cimber  may 
Have  an  immediate  freedom  of  repeal. 

Caes.  What,  Brutus ! 

Cas0  Pardon,  Caesar;  Caesar,  pardon:  » 

As  low  as  to  thy  foot  doth  Cassius  fall, 
To  beg  enfranchisement  for  Publius  Cimber. 

Caes.  I  could  be  well  mov'd,  if  I  were  as  you: 


ACT  III.  So.  i.)      JULIUS  CAESAR.  97 

If  I  could  pray  to  move,  prayers  would  move 

me: 

00          But  I  am  constant  as  the  northern  star, 
Of  whose  true-fix'd  and  resting  quality 
There  is  no  fellow  in  the  firmament. 
The*  skies    are     painted    with    unnumbered 

sparks, 

They  are  all  fire  and  every  one  doth  shine ; 
66          But  there's  but  one  in  all  doth  hold  his  place: 
So  in  the  world:    't  is  furnish'd  well  with 

men, 
And  men  are  flesh  and  blood,  and  apprehen 

sive; 

Yet  in  the  number  I  do  know  but  one 
That  unassailable  holds  on  his  rank, 
TO          Unshak'd  of  motion:  and  that  I  am  he, 
Let  me  a  little  show  it,  even  in  this; 
That   I    was     constant    Cimber    should    be 

banish'd, 

And  constant  do  remain  to  keep  him  so. 
Cin.  0  Caesar, — 

Caes.  Hence!  wilt  thou  lift  up  Olympus? 

75  Dec.  Great  Caesar, — 

Caes.  Doth  not  Brutus  bootless  kneel? 

Casca.  Speak,  hands,  for  me! 

[Casca  first,  then  the  other  Conspirators  and 

Marcus  Brutus  stab  Caesar. 
Caes.  Ettu,  Brute!     Then  fall,  Caesar!        [Dies. 
Cin*  Liberty !     Freedom !     Tyranny  is  dead ! 

Run  hence,  proclaim,  cry  it  about  the  streets, 


98  JULIUS  CAESAR.       [ACT  III.  So.  i 

Cas.  Some  to  the  common  pulpits,  and  cry  out      so 

"Liberty,  freedom,  and  enfranchisement!" 
Bru.   People  and  senators,  be  not  affrighted ; 

Fly  not ;  stand  still :  ambition's  debt  is  paid. 
Casca.  Go  to  the  pulpit,  Brutus. 
Dec.  And  Cassius  too. 

Bru.  Where's  Publius?  85 

Oin.  Here,   quite  confounded  with  this  mutiny. 
Met.  Stand   fast   together,   lest    some  friend  of 
Caesar's 

Should  chance — 
Bru.  Talk  not  of  standing.     Publius,  good  cheer; 

There  is  no  harm  intended  to  your  person,  9Q 

Nor  to  no  Eoman  else:  so  tell  them,  Publius. 
Cas.  And  leave  us,  Publius;  lest  that  the  people, 

Rushing  on  us,  should  do  your  age  some  mis- 
chief. 
Bru.  Do  so :  and  let  no  man  abide  this  deed, 

But  we  the  doers0 

Re-enter  Trebonius. 

Cas.  Where  is  Antony?  95 

Treb.  Fled  to  his  house  amaz'd: 

Men,  wives  and  children  stare,  cry  out  and 
run 

As  it  were  doomsday. 
Bru.  Fates,  we  will  know  your  pleasures : 

That  we  shall  die,   we  know,1  't  is  but  the 
time 

And  drawing  days  out,  that  men  stand  upon.  100 
Cas.  Why,  he  that  cuts  off  twenty  years  of  life 


ACT  III.  Sc.  i.]      JULIUS  CAESAR.  99 

Cuts  off  so  many  years  of  fearing  death. 
Bru.  Grant  that,  and  then  is  death  a  benefit : 

So  are  we  Caesar's  friends,  that  have  abridg'd 
MJ6          His  time  of  fearing  death.     Stoop,  Romans, 

stoop, 

And  let  us  bathe  our  hands  in  Caesar's  blood 
Up  to  the  elbows,  and  besmear  our  swords: 
Then  walk  we  forth,   even  to  the  market- 
place, 

And,  waving  our  red  weapons  o'er  our  heads, 
410          Let's  all  cry  "Peace,  freedom  and  liberty!'' 
Cas.  Stoop,  then,  and  wash.     How  many  ages 

hence 

Shall  this  our  lofty  scene  be  acted  over 
Instates  unborn  and  accents  yet  unknown ! 
Bru.     How  many   times   shall   Caesar  bleed  in 

sport, 
lift          That  now  on  Pompey's  basis  lies  along 

No  worthier  than  the  dust ! 
Cas.  So  oft  as  that  shall  be, 

So  often  shall  the  knot  of  us  be  call'd 
The  men  that  gave  their  country  liberty. 
Dec.  What,  shall  we  forth? 

Cas.  Ay,  every  man  away: 

•USD          Brutus  shall  lead  5  and  we  will  grace  his  heels 
With  the  most  boldest  and  best  hearts  of 
Rome. 

Enter  a  Servant. 

Bru.    Soft!  who  comes  here?     A   friend    of   An- 
tony's. 


100  JULIUS  CAESAR.      [ACT  III.  So.  i 


Thus,  Brutus,  did  my  master  bid  me  kneel; 
Thus  did  Mark  Antony  bid  me  fall  down; 
And,  being  prostrate,  thus  he  bade  me  say:  im 
Brutus  is  noble,  wise,  valiant,  and  honest  ; 
Caesar  was  mighty,  bold,  royal,  and  loving  ^ 
Say  I  love  Brutus,  and  I  honour  him  c, 
Say  I  fear'd  Caesar,  honour'd  him,  and  lov'd 

him. 

If  Brutus  will  vouchsafe  that  Antony  isn 

May  safely  come  to  him,  and  be  resolv'd 
How  Caesar  hath  deserv'd  to  lie  in  death, 
Mark  Antony  shall  not  love  Caesar  dead 
So  well  as  Brutus  living;  but  will  follow 
The  fortunes  and  affairs  of  noble  Brutus          iss 
Thorough  the  hazards  of  this  untrod  state 
With   all   true   faith.     So  says    my   master 
Antony. 

Bru.  Thy  master  is  a  wise  and  valiant  Roman  ; 
I  never  thought  him  worse. 
Tell  him,  so  please  him  come  unto  this  place,  !4fl 
He  shall  be  satisfied;  and,  by  my  honour, 
Depart  untouch'd. 

,Serv.  I'll  fetch  him  presently,     [Exit. 

Bru.  I   know  that   we   shall   have  him  well  to 
friend. 

Cas.  I  wish  we  may:  but  yet  have  I  a  mind 

That  fears  him  much  ;  and  my  misgiving  still  t48 
Falls  shrewdly  to  the  purpose. 

Bru.  But  here  comes  Antony. 

Re-enter  Antony 


ACT  III.  Sc.  i.]      JULIUS  CA*$AR.  10* 

Welcome,  Mark  Antony. 
Ant.  0  mighty  Caesar!  dost  thou  lie  so  low? 
Are   all   thy    conquests,   glories,    triumphs, 

spoils, 
wo          Shrunk   to   this  little   measure?    Fare  thee 

well. 

I  know  not,  gentlemen,  what  you  intend, 
Who  else  must  be  let  blood,  who  else  is  rank: 
If  I  myself,  there  is  no  hour  so  fit 
As  Caesar's  death  hour,  nor  no  instrument 
155          Of  half  that  worth   as  those  your  swords, 

made  rich 

With  the  most  noble  blood  of  all  this  world 
I  do  beseech  ye,  if  you  bear  me  hard, 
Now,  whilst  your  purpled  hands  do  reek  and 

smoke, 

Fulfil  your  pleasure.     Live  a  thousand  years, 
leo          I  shall  not  find  myself  so  apt  to  die: 

No  place  will  please  me  so,  no  mean  of  death, 
As  here  by  Caesar,  and  by  you  cut  on% 
The  choice  and  master  spirits  of  this  agec 
Bru.  0  Antony,  beg  not  your  death  of  us. 
166          Though  now  we  must  appear  bloody  and  cruel, 
As,  by  our  hands  and  this  our  present  act, 
You  see  we  do,  yet  see  you  but  our  hands 
And   this  the   bleeding   business  they  have 

done: 

Our  hearts  you  see  not ;  they  are  pitiful ; 
wo          And  pity  to  the  general  wrong  of  Rome — 
As  fire  drives  out  fire,  so  pity  pity — 


102  JULIU8  CAESAR.       [ACT  III.  So.  i 

• 
Hath  done  this  deed  on  Caesar.     For  your 

part, 
To  you  our  swords  have  leaden  points,  Mark 

Antony : 
Our   arms,  in   strength  of  malice,  and   our 

hearts 

Of  brothers'  temper,  do  receive  you  in  175 

With   all    kind    love,    good   thoughts,    and 

reverence. 
Gas.  Your  voice  shall  be  as  strong  as  any  man's 

In  the  disposing  of  new  dignities. 
Bru.   Only  be  patient  till  we  have  appeas'd 

The  multitude,  beside  themselves  with  fear,  iso 
And  then  we  will  deliver  you  the  cause, 
Why  I,  that  did  love  Caesar  when  I  struck 

him, 

Have  thus  proceeded. 

Ant.  I  doubt  not  of  your  wisdom. 

Let  each  man  render  me  his  bloody  hand: 
First,  Marcus  Brutus,  will  I  shake  with  you;  185 
Next,  Caius  Cassius,  do  I  take  your  hand; 
Now,    Decius   Brutus,    yours;     now    yours, 

Me  tell  us; 

Yours,  Cinna;  and,  my  valiant  Casca,  yours; 
Though  last,  not  least  in  love,  yours,  good 

Trebonius. 

Gentlemen  all, — alas,  what  shall  I  say?  190 

My    credit    now    stands    on    such    slippery 

ground, 
That  one  of  two  bad  ways  you  must  conceit  me, 


ACT  III.  Sc.  J.]      JULIUS  CAESAR  103 

Either  a  coward  or  a  flatterer. 
That  I  did  love  thee,  Caesar,  0,  'tis  true. 
185          If  then  thy  spirit  look  upon  us  now, 

Shall  it  not  grieve  thee  dearer  than  thy  death, 
To  see  thy  Antony  making  his  peace, 
Shaking  the  bloody  fingers  of  thy  foes, 
Most  noble !  in  the  presence  of  thy  corse? 
200          Had  I  as  many  eyes  as  thou  hast  wounds, 

Weeping  as   fast   as   they  stream  forth,  thy 

blood, 

It  would  become  me  better  than  to  close 
In  terms  of  friendship  with  thine  enemies. 
Pardon  me,  Julius!     Here  wast  thou  bay 'd, 

brave  hart; 
205          Here  didst  thou  fall;  and  here  thy  hunters 

stand, 
Sign'd  in   thy  spoil,  and  crimson'd  in  thy 

lethe. 

0  world,  thou  wast  the  forest  to  this  hart; 
And  this,  indeed,  0  world,  the  heart  of  thee 
How  like  a  deer,   strucken  by  many  princes, 
210          Dost  thou  here  lie! 
Cas.  Mark  Antony, — 

Ant.  Pardon  me,  Caius  Cassius: 

The  enemies  of  Caesar  shall  say  this ; 
Then,  in  a  friend,  it  is  cold  modesty. 
Cas.  I  blame  you  not  ior  praising  Caesar  so ; 
as          But  what  compact  mean  you  to  have  with  us? 
Will  you  be  prick'd  in  number  of  our  friends; 
Or  shall  we  on,  and  not  depend  on  vou? 


104  JULIUS  CAESAR.      £AcT  III,  So.  i 

Ant.  Therefore   I    took   your   hands,    but    was, 

indeed, 
Sway'd  from  the  point,  by  looking  down  on 

Caesar. 

Friends  am  I  with  yon  all  and  love  you  all,  220 
Upon   this   hope,    that    you    shall   give    me 

reasons 
Why  and  wherein  Caesar  was  dangerous. 

Bru.  Or  else  were  this  a  savage  spectacle : 
Our  reasons  are  so  full  of  good  regard 
That  were  you,  Antony,  the  son  of  Caesar,      225. 
You  should  be  satisfied. 

Ant.  That's  all  I  seeks 

And  am  moreover  suitor  that  I  may 
Produce  his  body  to  the  market-place ; 
And  in  the  pulpit,  as  becomes  a  friend, 
Speak  in  the  order  of  his  funeral.  230 

Bru.   You  shall,  Mark  Antony. 

Cas.  Brutus,  a  word  with  you. 

[Aside  to  Bru.~\  You  know  not  what  you  do: 

do  not  consent 

That  Antony  speak  in  his  funeral: 
Know  you  how  much  the  people  may  be  mov'd 
By  that  which  he  will  utter? 

Bru.  By  your  pardon :  235 

I  will  myself  into  the  pulpit  first, 
And  show  the  reason  of  our  Caesar's  death: 
What  Antony  shall  speak,  I  will  protest 
He  speaks  by  leave  and  by  permission, 
And  that  we  are  contented  Caesar  shall  340 


ACT  III.  Sc.  i.J      JULIUS  CAESAR  105 

Have  all  true  rites  and  lawful  ceremonies 
It  shall  advantage  more  than  do  us  wrong. 
Cas.  I  know  not  what  may  fall ;  I  like  it  not. 
Bru.  Mark  Antony,  here,  take  you  Caesar's  body. 
845         You  shall  not  in  your  funeral  speech  blame 

us, 

But  speak  all  good  you  can  devise  of  Caesar, 
And  say  you  do't  by  our  permission; 
Else  shall  you  not  have  any  hand  at  all 
About  his  funeral :  and  you  shall  speak 
S60         In  the  same  pulpit  whereto  I  am  going, 

After  my  speech  is  ended. 
Ant.  Be  it  so; 

I  do  desire  no  more. 
Bru.  Prepare  the  body  then,  and  follow  us. 

[Exeunt  all  but  Antony. 

Ant.  0,  pardon  me,  thou  bleeding  piece  of  earth, 
2M         That   I   am    meek    and  gentle   with   these 

butchers ! 

Thou  art  the  ruins  of  the  noblest  man 
That  ever  lived  in  the  tide  of  times. 
Woe  to  the  hand  that  shed  this  costly  blood! 
Over  thy  wounds  now  do  I  prophesy, — 
see         Which,  like  dumb  mouths,  do  ope  their  ruby 

lips, 
To  beg    the    voice    and    utterance    of    my 

tongue — 

A  curse  shall  light  upon  the  limbs  of  men; 
Domestic  fury  and  fierce  civil  strife 
Shall  cumber  all  the  parts  of  Italy; 


106  JULIUS  CAESAR       [ACT  III.  Sc.  L 

Blood  and  destruction  shall  be  so  in  use          261 

And  dreadful  objects  so  familiar 

That   mothers   shall    but   smile   when   they 

behold 
Their  infants  quarter'd  with  the  hands  of 

war; 

All  pity  chok'd  with'custom  of  fell  deeds.0 
And  Caesar's  spirit,  ranging  for  revenge,        STO 
With  Ate  by  his  side  come  hot  from  hell, 
Shall  in  these  confines  with  a  monarch's  voico 
Cry  " Havoc,"  and  let  slip  the  dogs  of  war; 
That  this   foul  deed  shall   smell  above  the 

earth 
With  carrion  men,  groaning  for  burial.  m 

Enter  a  Servant, 
You  serve  Octavius  Caesar,  do  you  not? 

Serv.  I  do,  Mark  Antony. 

Ant.  Caesar  did  write  for  him  to  come  to  Rome. 

Serv.  He  did  receive  his  letters,  and  is  coming; 

And  bid  me  say  to  you  by  word  of  mouth—    ggo 
0  Caesar! — •  [Seeing  the  body. 

Ant.  Thy  heart  is  big,  get  thee  apart  and  weep» 
Passion,  I  see,  is  catching;  for  mine  eyes, 
Seeing  those  beads  of  sorrow  stand  in  thine, 
Began  to  water.     Is  thy  master  coming?          m 

Serv.  He  lies  to-night  within  seven  leagues  of 
Eome. 

dnL  Post  back  with  speed  and  tell  him  what  hath 

chanc'd: 
Here  is  a  mourning  Eome,  a  dangerous  Eome, 


ACT  III.  Sc.  ii.]     JULIUS  CAESAR.  107 

No  Rome  of  safety  for  Octavius  yet; 
fttt          Hie  hence,  and  tell  him  so.     Yet,  stay  awhile ; 

Thou  shalt  not  back  till  I  have  borne  this 
corse 

Into  the  market-place :  there  shall  I  try, 

In  my  oration,  how  the  people  take 

The  cruel  issue  of  these  bloody  men ; 
9&          According  to  the  which,  thou  shalt  discourse 

To  young  Octavius  of  the  state  of  things. 

Lend  me  your  hand. 

[Exeunt  with  Caesar's  l)ody. 

SCENE  II. 

Tlie  Forum. 
Enter  Brutus  and  Cassius^  and  a  throng  of 

Citizens. 

Citizens.  We  will  be  satisfied;  let  us  be  satisfied. 
Bru*  Then  follow   me,   and  give  me  audience, 

friends. 

Cassius,  go  you  into  the  other  street, 
And  part  the  numbers. 
5          Those  that  will  hear  me  speak,  let  'em  stay 

here; 

Those  that  will  follow  Cassius,  go  with  him; 
And  public  reasons  shall  be  rendered 
Of  Caesar's  death. 
First  Cit.  I  will  hear  Brutus  speak. 
10  Sec.  Cit.  I  will  hear  Cassius ;  and  compare  their 
reasons, 


108  JULIUS  CAESAR.     [ACT  III.  So.  ii 

When  severally  we  hear  them  rendered. 
]Exit    Cassius,   with   some  of  the   Citizens. 
Brutus  goes  into  the  pulpit. 

Third  Cit.  The  noble  Brutus  is  ascended:  silence! 

Bru.  Be  patient  till  the  last. 

Romans,  countrymen,  and  lovers!  hear  me 
for  my  cause,  and  be  silent,  that  you  may  is 
hear :  believe  me  for  mine  honour,  and  have 
respect  to  mine  honour,  that  you  may  be- 
lieve :  censure  me  in  your  wisdom,  and  awake 
your  senses,  that  you  may  the  better  judge. 
If  there  be  any  in  this  assembly,  any  dear  ao 
friend  of  Caesar's,  to  him  I  say,  that  Brutus' 
love  to  Caesar  was  no  less  than  his.     If  then 
that  friend  demand  why  Brutus  rose  against 
Caesar,  this  is  my  answer: — Not  that  I  lov'd 
Caesar  less,    but   that   I  lov'd  Eome  more.  88 
Had  you   rather  Caesar  were  living  and  die 
all  slaves,  than  that  Caesar  were  dead,  to 
live   all   free   men?    As  Caesar  lov'd   me,  I 
weep  for  him ;  as  he  was  fortunate,  I  rejoice 
at  it ;  as  he  was  valiant,  I  honour  him :  but,  30 
as  he  was  ambitious,  I  slew  him.     There  is 
tears  for  his  love ;  joy  for  his  fortune ;  hon- 
our for  his  valour ;  and  death  for  his  ambi- 
tion.    Who  is    here  so  base  that  would  be  a 
bondman?     If  any,   speak ;  for  him  have  I  85 
offended.     Who  is  here  so  rude  that  would 
not  be    a  Eoman?     If  any,  speak;  for  him 
have  I  offended.     Who  is  here  so  vile  that 


ACT  III.  Sc.  ii.]     JULIUS  CAESAR.  109 

will  not  love  his  country?    If  any,  speak ;  for 
«          him  have  I  offended.     I  pause  for  a  reply. 
AIL  None,  Brutus,  none. 

Bru.  Then  none  have  I  offended.     I  have  done 
no   more  to   Caesar  than  you   shall   do   to 
Brutus.     The  question  of  his   death   is  en- 
*          roll'd"  in  the  Capitol;  his  glory  not  exten- 
uated,    wherein  he    was    worthy,    nor    his 
offences    enforced,    for  which    he    suffered 
death. 
Enter  Antony  and  other s,  with  Caesar* s  body. 

Here  comes  his  body,  mourn'd  by  Mark  An- 

bo          tony:  who,   though  he  had  no  hand  in  his 

death,  shall  receive  the  benefit  of  his  dying, 

a  place  in  the  Commonwealth ;  as  which  of 

you  shall  not?     With  this  I  depart, — that, 

as  I  slew  my  best  lover  for  the  good  of  Eome, 

55          I  have  the  same  dagger  for  myself,  when  it 

shall  please  my  country  to  need  my  death. 
All.  Live,  Brutus!  live,  live! 
First  Cit.  Bring  him  with  triumph  home  unto  his 

house. 

Sec,  Cit.  Give  him  a  statue  with  his  ancestors. 
m  Third  Cit.  Let  him  be  Caesar. 

Fourth  Cit.  Caesar's  better  parts 

Shall  be  crown'd  in  Brutus. 
First  Cit,  We'll  bring  him  to  his  house 

With  shouts  and  clamours. 

Bru.  My  countrymen, — - 

Sec.  Cit.  Peace,  silence!  Brutus  speaks. 


J10  JULIUS  CAESAR.     [ACT  III.  So.  ii 

First  Cit,  Peace,  ho! 

Bru.  Good  countrymen,  let  me  depart  alone, 

And,  for  my  sake,  stay  here  with  Antony:       ft 

Do  grace  to  Caesar's  corpse,   and  grace  his 
speech 

Tending  to    Caesar's   glories;    which   Mark 
Antony, 

By  our  permission,  is  allow'd  to  make. 

I  do  entreat  you,  not  a  man  depart 

Save  I  alone,  till  Antony  have  spoke.     [Exit,  m 
First  Cit.  Stay,  ho !  and  let  us  hear  Mark  Antony. 
Third  at.  Let  him  go  up  into  the  public  chair; 

We'll  hear  him.     Noble  Antony,  go  up. 
Ant.  For  Brutus'  sake,  I  am  beholding  to  you. 

[Goes  into  the  pulpit, 

Fourth  at.  What  does  he  say  of  Brutus? 
Third  at.  He  says,  for  Brutus'  sake,  75 

He  finds  himself  beholding  to  us  all. 
Fourth  at.  'T  were  best  he  speak  no  harm  of 

Brutus  here. 

First  at.  This  Caesar  was  a  tyrant. 
Third  at.  Nay,  that's  certain: 

We  are  blest  that  Rome  is  rid  of  him. 
Bee.  at.  Peace !  let  us  hear  what  Antony  can  say.  so 
Ant.  You  gentle  Romans, — 
Citizens.  Peace,  ho !  let  us  hear  him. 

Ant.    Friends,    Romans,    countrymen,   lend    me 
your  ears; 

I  come  to  bury  Caesar,  not  to  praise  him. 

The  evil  that  men  do  lives  after  them ; 


ACT  III.  Sc.  ii.]    JULIUS  CAESAR.  Ill 

«          The  good  is  oft  interred  with  their  bones; 

So  let  it  be  with  Caesar.     The  noble  Brutus 
Hath  told  you  Caesar  was  ambitious : 
If  it  were  so,  it  was  a  grievous  fault, 
And  grievously  hath  Caesar  answer 'd  it. 

90          Here,  under  leave  of  Brutus  and  the  rest — 
For  Brutus  is  an  honourable  man ; 
So  are  they  all,  all  honourable  men — 
Come  I  to  speak  in  Caesar's  funeral. 
He  was  my  friend,  faithful  and  just  to  me: 

as  But  Brutus  says  he  was  ambitious; 
And  Brutus  is  an  honourable  man. 
He  hath  brought  many  captives  home  to 

Eome, 

Whose  ransoms  did  the  general  coffers  fill: 
Did  this  in  Caesar  seem  ambitious? 

too          When  that  the  poor  have  cried,  Caesar  hatl 

wept: 

Ambition  should  be  made  of  sterner  stuff: 
Yet  Brutus  says  he  was  ambitious; 
And  Brutus  is  an  honourable  man. 
You  all  did  see  that  on  the  Lupercal 

K»          I  thrice  presented  him  a  kingly  crown, 

Which  he  did  thrice  refuse :  was  this  ambitiou 
Yet  Brutus  says  he  was  ambitious  •; 
And,  sure,  he  is  an  honourable  man. 
I  speak  not  to  disprove  what  Brutus  spoke, 

«o          But  here  I  am  to  speak  what  I  do  know. 

You   all    did  love    him    once,    not  without 
cause 


t!2  JULIUS  CAESAR.     [ACT  III.  So.  it 

What  cause  withholds  you  then,  to  mourn  fo* 
him? 

0  judgement !  thou  art  fled  to  brutish  beasts, 
And  men  have  lost  their  reason.     Bear  with 

me; 

My  heart  is  in  the  coffin  there  with  Caesar,       tie 
And  I  must  pause  till  it  come  back  to  me, 
First  Cit.  Methinks  there  is  much  reason  in  his 

sayings. 
Sec.  Cit.  If  thou  consider  rightly  of  the  matter. 

Caesar  has  had  great  wrong. 
Third  Cit.  Has  he,  masters? 

1  fear  there  will  a  worse  come  in  his  place.      tap 
Fourth  Cit.  Mark'd  ye  his  words?     He  would  not 

take  the  crown ; 

Therefore  't  is  certain  he  was  not  ambitious* 
First  Cit.  If  it  be  found  so,  some  will  dear  abide  it. 
Sec.  Cit.  Poor  soul !  his  eyes  are  red  as  fire  with 

weeping. 
Third  Cit.  There's  not  a  nobler  man  in  Rome 

than  Antony.  125 

Fourth  Cit.  Now  mark  him,  he  begins  again  to 

speak. 

Ant.  But  yesterday  the  word  of  Caesar  mignt 
Have  stood  against  the  world;  now  lies  he 

there, 
And  none  so  poor  to  do  him  reverence 

0  masters,  if  I  were  dispos'd  to  stir  i» 
Your  hearts  and  minds  to  mutiny  and  rage, 

1  should  do  Brutus  wrong,  and  Cassius  wrong, 


ACT  III.  Sc.  ii.]     JULIUS  CAESAR.  115 

Who,  you  all  know,  are  honourable  men: 
I  will  not  do  them  wrong ;  I  rather  choose 
135          To  wrong  the  dead,  to  wrong  myself  and  you* 
Than  I  will  wrong  such  honourable  men. 
But  here's  a  parchment  with  the  seal  of  Cae- 
sar; 

I  found  it  in  his  closet,  't  is  his  will: 
Let  but  the  commons  hear  this  testament— 
140          Which,  pardon  me,  I  do  not  mean  to  read — 
And  they  would  go  and  kiss  dead  Caesar's 

wounds 

And  dip  their  napkins  in  his  sacred  blood, 
Yea,  beg  a  hair  of  him  for  memory, 
And,  dying,  mention  it  within  their  wills, 
145          Bequeathing  it  as  a  rich  legacy 

Unto  their  issue. 
Fourth  Cit.  We'll  hear  the  will:  read  it,  Mark 

Antony. 

All.  The  will,  the  will!  we  will  hear  Caesar's  will. 
Ant.  Have  patience,  gentle  friends,  I  must  not 

read  it; 

150          It  is  not  meet  you  know  how  Caesar  lov'd  you. 
You  are  not  wood,  you  are  not  stones,  but 

men; 

And,  being  men,  hearing  the  will  of  Caesar, 
It  will  inflame  you,  it  will  make  you  mad: 
'T  is  good  you  know  not  that  you  are  his  heirs ; 
165          For,  if  you  should,  0,  what  would  come  of  it! 
Fourth  Cit.  Eead  the  will;  we'll  hear  it,  Antony f* 
You  shall  read  us  the  will,  Caesar's  will. 


114  JULIUS  CAESAR.     [ACT  III.  So.  ii 

Ant.  Will  you  be  patient?   will  you  stay  awhile? 
I  have  o'ershot  myself  to  tell  you  of  it  ? 
I  fear  I  wrong  the  honourable  men 
Whose  daggers  have  stabb'd  Caesar;  I  do  fear 
it. 

Fourth  Cit.  They  were  traitors :  honourable  men! 

All.  The  will!  the  testament ! 

Sec.  Cit.  They  were  villains,  murderers :  the  will ! 
read  the  will. 

Ant.  You  will  compel  me,  then,  to  read  the  will? 
Then  make  a  ring  about  the  corpse  of  Caesar, 
And  let  me  show  you  him  that  made  the  will. 
Shall  I  descend?  and  will  you  give  me  leave? 

Several  Cit.  Come  down. 

Sec.  at.  Descend. 

Third  at.  You  shall  have  leave. 

[Antony  comes  down  from  the  pulpit. 

Fourth  Cit.  A* ring;  stand  round. 

First  at.  Stand  from  the  hearse,  stand  from  the 
body. 

Sec.  at.  Boom  for  Antony,  most  noble  Antony. 

Ant.  Nay,  press  not  so  upon  me;  stand  far  off. 

Several  at.  Stand  back;  room;  bear  back! 

Ant.  If  you  have  tears,  prepare  to  shed  them  now. 
You  all  do  know  this  mantle :  I  remember 
The  first  time  ever  Caesar  put  it  on ;  \ 

'T  was  on  a  summer's  evening,  in  his  tent, 
That  day  he  overcame  the  Nervii: 
Look,   in   this    place     ran    Cassius*  daggey 
through : 


ACT  III.  Sc.  ii.]     JULIUS  CAESAB  115 

See  what  a  rent  the  envious  Casca  made: 
*85  Through  this  the  well-beloved  Brutus  stabb'd ; 

And  as  he  pluck'd  his  cursed  steel  away, 
Mark  how  the  blood  of  Caesar  follow'd  it, 
As  rushing  out  of  doors,  to  be  resolved 
If  Brutus  so  unkindly  knock'd,  or  no; 
190          For  Brutus,  as  you  know,  was  Caesar's  angel 
Judge,  0  you  gods,  how  dearly  Caesar  lov'd 

him! 

This  was  the  most  unkindest  cut  of  all; 
For  when  the  noble  Caesar  saw  him  stab, 
Ingratitude,  more  strong  than  traitors'  arms, 
i«5          Quite  vanquish 'd  him:  then  burst  his  mighty 

heart ; 

And,  in  his  mantle  muffling  up  his  face, 
Even  at  the  base  of  Pompey's  statue, 
Which  all  the  while  ran  blood,  great  Caesar 

fell. 

0,  what  a  fall  was  there,  my  countrymen! 
200          Then  I,  and  you,  and  all  of  us  fell  down, 
Whilst  bloody  treason  flourish 'd  over  us. 
0,  now  you  weep;  and,  I  perceive,  you  feel 
The  dint  of  pity:  these  are  gracious  drops. 
Kind  souls,  what,  weep  you  when  you  but 

behold 
aos          Our  Caesar's  vesture  wounded?     Look  you 

here,  [Lifting  Caesar's  mantle. 

Here  is    himself,   marr'd,  as  you   see,   with 

traitors. 
•First  Cit.  0  piteous  spectacle! 


116  JULIUS  CAESAR,      ]  ACT  TIL  So  ii 

Sec.  Cit.  0  noble  Caesar! 

Third  Cit.  0  woful  day! 

Fourth  Cit.  0  traitors,  villains!  210 

First  Cit.  0  most  bloody  sight- 

Sec.  Cit.   We  will  be  reveng'd. 

All.  Kevenge!  About!  Seek!   Burn!    Eire!    Kill! 

Slay! 
Let  not  a  traitor  live ! 

Ant.  Stay,  countrymen. 

First  Cit.  Peace  there !  hear  the  noble  Antony.      215 

Sec.  Cit.  We'll  hear  him,  we'll  follow  him,  we'll 
die  with  him. 

Ant.  Good  friends,  sweet  friends,  let  me  not  stir 

yon  up 

To  such  a  sudden  flood  of  mutiny. 
They  that  have  done  this  deed  are  honourable:  220 
What  private  griefs  they  have,  alas,  I  know  not, 
That  made  them  do  it:    they  are  wise  and 

honourable, 

And  will,  no  doubt,  with  reasons  answer  you. 
I  come  not,  friends,  to  steal  away  your  hearts: 
I  am  no  orator,  as  Brutus  is ;  225 

But,  as  you  know  me  all,  a  plain  blunt  man, 
That  love  my  friend ;    and  that  they  know 

full  well 

That  gave  me  public  leave  to  speak  of  him: 
For   I   have    neither    wit,    nor    words,    nor 

worth, 

Action,    nor   utterance,    nor    the    power   of  230 
speech, 


ACT  III.  Sc.  iL]     JULIUS  CAESAR.  117 

To  stir  men's  blood:  I  only  speak  right  on; 
I   tell    you    that    which   you    yourselves  do 

know; 
Show  you  sweet  Caesar's  wounds,  poor,  poor, 

dumb  mouths, 
And  bid  them  speak  for   me:    but  were  I 

Brutus, 

235          And  Brutus  Antony,  there  were  an  Antony    • 
Would  ruffle  up  your  spirits  and  put  a  tongue 
In  every  wound  of  Caesar  that  should  move 
The  stones  of  Rome  to  rise  and  mutiny. 
All.  We'll  mutiny. 
240  First  Cit.  We'll  burn  the  house  of  Brutus. 

Third  Cit.  Away,  then!   come,  seek  the  conspir 

ators. 
Ant.  Yet  hear    me,   countrymen;    yet  hear    me 

speak. 
All.  Peace,    ho!      Hear   Antony.       Most    noble 

Antony ! 
Ant.  Why,  friends,  you  go  to  do  you  know  not 

what: 
245          Wherein    hath   Caesar   thus    deserv'd   your 

loves? 

Alas,  you  know  not:  I  must  tell  you,  then: 
You  have  forgot  the  will  I  told  you  of. 
All.  Most  true.     The  will!     Let's  stay  and  hear 

the  will. 

Ant.  Here  is  the  will,  and  under  Caesar's  seal. 
250          To  every  Roman  citizen  he  gives, 

To  every  several  man,  seventy-five  drachmae 


118  JULIUS  CAESAR.     [ACT  III.  So.  ii. 

Sec.  Cit.  Most  noble  Caesar!     We'll  revenge  his 
death. 

Third  Git.  0  royal  Caesar! 

Ant.  Hear  me  with  patience. 

All.   Peace \  ho!  25! 

Ant.   Moreover,  he  hath  left  you  all  his  walks, 
His  private  arbours  and  new-planted  orchards. 
On  this  side  Tiber;  he  hath  left  them  you, 
And  to  your  heirs  forever,  common  pleasures, 
To  walk  abroad,  and  recreate  yourselves.          260 
Here  was  a  Caesar !  when  comes  such  another? 

First  Cit.  Never,  never.    Come,  away,  away! 
We'll  burn  his  body  in  the  holy  place, 
And  with  the  brands  fire  the  traitors'  houses. 
Take  up  the  body.  265 

Sec.  at.   Go  fetch  fire. 

Third  at.  Pluck  down  benches. 

Fourth   at.    Pluck  down    forms,   windows,  any 
thing.       [Exeunt  Citizens  with  the  body. 

Ant.  Now  let  it  work.     Mischief,  thou  art  afoot, 
Take  thou  what  course  thou  wilt ! 
Enter  a  servant. 

How  now,  fellow!  270 

Serv.  Sir,  Octavius  is  already  come  to  Eome. 

Ant.  Where  is  he? 

Serv.  He  and  Lepidus  are  at  Caesar's  house. 

Ant.  And  thither  will  I  straight  to  visit  him: 

He  comes  upon  a  wish.     Fortune  is  merry,      275 
And  in  this  mood  will  give  us  any  thing. 

Serv.  I  heard  him  say,  Brutus  and  Cassius 


ACT  III.  Sc.  iii.]    JULIUS  CAESAR 

Are  rid  like  madmen  through  tne  gates  of 

Home. 

Ant.  Belike  they  had  some  notice  of  the  people, 
280          How  I  had  mov'd  them.     Bring  me  to  Oc- 
tavius.  [Exeunt. 


SCENE  III. 

A  street. 
Enter  Cinna  the  poet. 

Cm.  I   dreamt   to-night   that   I   did   feast   with 

Caesar, 

And  things  unluckily  charge  my  fantasy: 
I  have  no  will  to  wander  forth  of  doors, 
Yet  something  leads  me  forth. 

Enter  Citizens. 

5  First  Cit.  What  is  your  name? 
Sec.  Cit.  Whither  are  you  going? 
Third  Cit.  Where  do  you  dwell? 
Fourth  Cit.  Are  you  a  married  man  or  a  bach- 
elor? 

Sec.  Cit.  Answer  every  man  directly. 
10  First  Cit.  Ay,  and  briefly. 
Fourth  Cit.  Ay,  and  wisely. 
Third  Cit.  Ay,  and  truly,  you  were  best. 
Gin.  What  is  my  name?     Whither  am  I  going? 
Where  do  I  dwell?     Am  I  a  married  man  or  a 
is          bachelor?       Then,    to     answer     every    man 


120  JULIUS  CAESAR.     [ACT  III.  So.  iii, 

directly  and  briefly,  wisely  and  truly :  wisely 

I  say,  I  am  a  bachelor. 
Sec.  Cit.  That's  as  much  as  to  say,  they  are  fools 

that  marry:    you'll  bear  me  a  bang  for  that, 

I  fear.     Proceed;  directly.  20 

Gin.  Directly,  I  am  going  to  Caesar's  funeral. 
First  Cit.  As  a  friend  or  an  enemy? 
Cm.  As  a  friend. 

Sec.  at.  That  matter  is  answered  directly. 
Fourth  Cit.  For  your  dwelling, — briefly.  25 

an.  Briefly,  I  dwell  by  the  Capitol. 
Third  at.  Your  name,  sir,  truly. 
an.   Truly,  my  name  is  Cinna. 
First  at.  Tear  him  to  pieces;  he's  a  conspirator, 
an.  I  am  Cinna  the  poet,  I  am  Cinna  the  poet.      30 
Fourth  at.  Tear  him  for  his  bad  verses,  tear  him 

for  his  bad  verses. 

an.   I  am  not  Cinna  the  conspirator. 
Fourth  at.   It  is  no  matter,  Ids  name's  Cinna; 

pluck  but  his  name  out  of  his  heart,  and  turn  35 

him  going. 
Third  at.  Tear  him,  tear  him!     Come,  brands, 

ho!    fire-brands:    to    Brutus',    to    Cassius'; 

burn  all:    some  to  Deems'  house,  and  some 

to  Casca's;  some  to  Ligarius':  away,  go!         40 

[Exeunt. 


ACT  FOURTH. 

SCENE  I. 

A  house  in  Rome. 

Antony ,  Octavius,  and  Lepidus,  seated  at  a  table. 

Ant.  These  many,  then,  shall  die;   their  names 

are  prick 'd. 
Oct.  Your  brother   too  must  die;    consent  you, 

Lepidus? 

Lep.  I  do  consent, — 

Oct.  Prick  him  down,  Antony. 

Lep.  Upon  condition  Publius  shall  not  live, 
5          Who  is  your  sister's  son,  Mark  Antony. 
Ant.  He  shall  not  live;  look,  with  a  spot  I  damn 

him. 

But,  Lepidus,  go  you  to  Caesar's  house; 
Fetch  the  will  hither,  and  we  shall  determine 
How  to  cut  off  some  charge  in  legacies. 
10  Lep.   What,  shall  I  find  you  here? 
Oct.  Or  here,  or  at  the  Capitol. 

[Exit  Lepidus. 

Ant.  This  is  a  slight  unmeritable  man, 
Meet  to  be  sent  on  errands :  is  it  fit, 
The  three-fold  world  divided,  he  should  stand 
is          One  of  the  three  to  share  it? 

Oct.  So  you  thought  him; 

121 


JULIUS  CAESAR.        [ACT  IV.  So.  i. 

And  took  his  voice  who  should  be  prick 'd  to 

die, 

In  our  black  sentence  and  proscription. 
Ant.  Octavius,  I  have  seen  more  days  than  you : 
And  though  we  lay  these   honours  on    this 

man, 

To  ease  ourselves  of  divers  sland'rous  loads,     20 
He  shall  but  bear  them  as  the  ass  bears  gold, 
To  groan  and  sweat  under  the  business, 
Either  led  or  driven,  as  we  point  the  way; 
And  having  brought  our  treasure  where  we 

will, 
Then  take  we  down  his  load,  and  turn  him  25 

off, 

Like  to  the  empty  ass,  to  shake  his  ears, 
And  graze  in  commons. 
Oct.  You  may  do  your  will ; 

But  he's  a  tried  and  valiant  soldier. 
Ant.  So  is  my  horse,  Octavius;  and  for  that 

I  do  appoint  him  store  of  provender:  so 

It  is  a  creature  that  I  teach  to  fight, 

To  wind,  to  stop,  to  run  directly  on, 

His  corporal  motion  govern'd  by  my  spirit. 

And,  in  some  taste,  is  Lepidus  but  so; 

He  must  be  taught  and  train'd  and  bid  go  85 

forth ; 

A  barren-spirited  fellow ;  one  that  feeds 
On  abjects,  orts  and  imitations, 
Which,  out  of  use  and  staled  by  other  men, 
Begin  his  fashion :  do  not  talk  of  him, 


ACT  IV.  Sc.  ii.]     JULIUS  CAESAR. 

40          But  as  a  property.     And  now,  Octavius, 
Listen  great  things: — Brutus  and  Cassius 
Are  levying  powers :  we  must  straight  make 

head: 

Therefore  let  our  alliance  be  combin'd, 
Our  best  friends  made,  our  means  stretch'd; 
45          And  let  us  presently  go  sit  in  council, 

How  covert  matters  may  be  best  disclos'd, 
And  open  perils  surest  answered. 
Oct.  Let  us  do  so :  for  we  are  at  the  stake, 
And  bay'd  about  with  many  enemies; 
so          And  some  that  smile  have  in  their  hearts,  1 

fear, 
Millions  of  mischiefs.  [Exeunt, 

SCENE  II. 

Camp  near  Sardis.     Before  Brutus'* s  tent. 

Drum.  Enter  Brutus,  Lucilius,  Lucius,  and 
Soldiers;  Titinius  and  Pindarus  meeting 
them. 

Bru.  Stand,  ho! 

Lucil.  Give  the  word,  ho !  and  stand. 
Bru.  "What  now,  Lucilius !  is  Cassius  near? 
Lucil.  He  is  at  hand ;  and  Pindarus  is  come 
&          To  do  you  salutation  from  his  master. 

He    greets  me   well.      Your   master,    Pin- 
darus, 
In  his  own  change,  or  by  ill  officers, 


1x54  JULIUS  CAESAR.      [ACT  IV.  So.  ii. 

Hath  given  me  some  worthy  cause  to  wish 

Things  done,  undone :  but,  if  he  be  at  hand, 

I  shall  be  satisfied. 
Pin.  I  do  not  doubt  to 

But  that  my  noble  master  will  appear 

Such  as  he  is,  full  of  regard  and  honour. 
Bru.  He  is  not  doubted.     A  word,  Lucilius, 

How  he  received  you :  let  me  be  resolved. 
Lucil.  With  courtesy  and  with  respect  enough;      15 

But  not  with  such  familiar  instances, 

Nor  with  such  free  and  friendly  conference, 

As  he  hath  used  of  old. 
Bru.  Thou  hast  described 

A  hot  friend  cooling :  ever  note,  Lucilius, 

When  love  begins  to  sicken  and  decay,  20 

It  useth  an  enforced  ceremony. 

There  are  no  tricks  in  plain  and  simple  faith ; 

But  hollow  men,  like  horses  hot  at  hand, 

Make   gallant   show   and    promise    of    their 
mettle : 

But  when  they  should  endure  the  bloody  spur,  25 

They  fall   their   crests,    and,   like   deceitful 
jades, 

Sink  in  the  trial.     Comes  his  army  on? 
Lucil.  They   mean   this   night   in   Sardis  to  be 
quarter 'd; 

The  greater  part,  the  horse  in  general, 

Are  come  with  Cassius. 
Bru,  Hark-!  he  is  arriv'd.  so 

[Low  march  within. 


ACT  IV.  Sc.  ii.]     JULIUS  CAESAR.  125 

March  gently  on  to  meet  him. 

Enter  Cassius  and  his  powers. 
Cas.  Stand,  ho! 

Bru.  Stand,  ho !     Speak  the  word  along. 
First  Sol.  Stand! 
85  Sec.  Sol.  Stand! 
Third  Sol.  Stand! 

Cas.  Most  noble  brother,  you  have  done  me  wrong. 

Bru.  Judge  me,  you  gods !  wrong  I  mine  enemies? 

And,  if  not  so,  how  should  I  wrong  a  brother? 

40  Cas,  Brutus,   this    sober    form    of    yours    hides 

wrqngs ; 

And  when  you  do  them — 

Bru.  Cassius,  be  content ; 

Speak  your  griefs  softly :  I  do  know  you  well. 
Before  the  eyes  of  both  our  armies  here, 
Which  should  perceive  nothing  but  love  from 

us, 
45          Let  us  not  wrangle :  bid  them  move  away ; 

Then  in  my  tent,  Cassius,  enlarge  your  griefs, 
And  I  will  give  you  audience. 
Cas.  Pindarus, 

Bid  our  commanders  lead  their  charges  off 
A  little  from  this  ground. 

BO  Bru.  Lucilius,  do  you  the  like ;  and  let  no  man 
Come  to  our  tent  till  we  have  done  our  con- 
ference. 
Let  Lucius  and  Titinius  guard  our  door. 

\Exeunt, 


126  j  CTLIUS  CAESAR.    [ACT  IV.  So,  iii 


III. 

Brutus^s  tent. 
Enter  Brutus  and  Cassius. 

Cas.  That  you  have  wrong'd  me  doth  appear  in 

this: 

You  have  condemn  'd  and  noted  Lucius  Pella 
For  taking  bribes  here  of  the  Sardians  ; 
Wherein  my  letters,  praying  on  his  side 
Because  I  knew  the  man,  were  slighted  off.     5 
Bru.  You  wrong'd  yourself   to  write  in  such  a 

case. 
Gas.  In  such  a  time  as  this  it  is  not  meet 

That  every  nice  offence  should  bear  his  com- 

ment 
Bn.  Let  me  tell  you,  Cassius,  you  yourself 

Are   much   condemn  'd  to    have   an   itching  10 

palm; 

To  sell  and  mart  your  offices  for  gold 
To  undeservers. 
fias.  I  an  itching  palm! 

You  know  that  you  are  Brutus  that  speaks 

this, 
Or,  by  the  gods,  this  speech  were  else  your 

last. 
Bru.  The  name  of  Cassius  honours  this  corrup-  15 

tion, 

And   chastisement  doth  therefore    hide   his 
head. 


ACT  IV.  Sc.  iii.]   JULIUS  CAESAR.  127 

Cas.  Chastisement! 

Bru.  Kemember  March,  the  ides  of  March  re- 
member: 

Did  not  great  Julius  bleed  for  justice'  sake? 
ao          What  villain  touch 'd  his  body,  that  did  stab, 
And  not  for  justice?     What,  shall  one  of  us, 
That  struck  the  foremost  man  of  all  this  world 
But  for  supporting  robbers,  shall  we  now 
Contaminate  our  fingers  with  base  bribes, 
25          And    sell   the   mighty  space    of    our    large. 

honours 

For  so  much  trash  as  may  be  grasped  thus? 
I  had  rather  be  a  dog,  and  bay  the  moon, 
Than  such  a  Roman. 
Cas.  Brutus,  bait  not  me; 

I'll  not  endure  it:  you  forget  yourself, 
so          To  hedge  me  in ;  I  am  a  soldier,  I, 

Older  in  practice,  abler  than  yourself 
To  make  conditions. 

Bru.  Go  to ;  you  are  not,  Cassius. 

Cas.  I  am. 

B~u.  I  say  you  are  not. 
$  Cas.  Urge  me  no  more,  I  shall  forget  myself; 

Have  mind  upon  your  health,  tempt  me  no 

farther. 

Bru.  Away,  slight  man! 
Cas.  Is  't  possible?  , 

Bru.  Hear  me,  for  I  will  speak. 

Must   I   give   way   and   room  to  your   rash 
choler? 


128  JULIUS  CAESAR.    [ACT  IV.  Sc.  iii 

Shall  I  be  frighted  when  a  madman  stares?      40 
Gas.  0  ye  gods,  ye  gods !  must  I  endure  all  this? 
Bru.  All   this!    ay,   more:   fret  till  your  proud 

heart  break ; 

Go  show  your  slaves  how  choleric  you  are, 
And  make  your  bondmen  tremble.     Must  I 

.     budge? 

Must  I  observe  you?  must  I  stand  and  crouch  45 
Under  your  testy  humour?     By  the  gods, 
You  shall  digest  the  venom  of  your  spleen, 
Though  it  do  split  you ;   for,  from  this  day 

forth, 
I'll   use  you   for    my   mirth,    yea,   for    my 

laughter, 

When  you  are  waspish. 

Cas.  Is  it  come  to  this?      60 

Bru.  You  say  you  are  a  better  soldier: 

Let  it  appear  so ;  make  your  vaunting  true, 
And  it  shall  please  me  well:   for  mine  own 

part, 

I  shall  be  glad  to  learn  of  noble  men. 
Cas.  You  wrong  me  every  way ;   you  wrong  mer  55 

Brutus ; 

I  said,  an  elder  soldier,  not  a  better: 
Did  I  say  "better"? 

Bru.  If  you  did,  I  care  not. 

Cas.  When  Caesar  liv'd,  he  durst  not  thus  have 

mov'd  me. 

Bru.  Peace,  peace !  you  durst  not  so  have  tempted 
him. 


ACT  IV.  Sc.  iii.]    JULIUS  CAESAR.  129 

60  Cas.  I  durst  not! 
Bru.  No. 

Cas.  What,  durst  not  tempt  him ! 
Bru.  For  your  life  you  durst  not. 

Cas.  Do  not  presume  too  much  upon  my  love ; 

I  may  do  that  I  shall  be  sorry  for. 
66  Bru.  You  have  done  that  you  should  be  sorry 

for. 

There  is  no  terror,  Cassius,  in  your  threats, 
For  I  am  arm'd  so  strong  in  honesty 
That  they  pass  by  me  as  the  idle  wind, 
Which  I  respect  not.     I  did  send  to  you 
TO          For  certain  sums  of  gold,  which  you  denied 

me: 

For  I  can  raise  no  money  by  vile  means: 
By  heaven,  I  had  rather  coin  my  heart, 
And  drop  my  blood  for 'drachmas,  than  'to 

wring 
From  the  hard  hands  of  peasants  their  vile 

trash 
n          By  any  indirection :  1  did  send 

To  you  for  gold  to  pay  my  legions, 

Which  you  denied  me:    was  that  done  like 

Cassius? 

Should  I  have  answer'd  Caius  Cassius  so? 
When  Marcus  Brutus  grows  so  covetous, 
«o          To  lock  such  rascal  counters  from  his  friends, 
Be  ready,  gods,  with  all  your  thunderbolts; 
Dash  him  to  pieces! 
Cas.  I  denied  you  not. 


^SO  JULIUS  CAESAR.    [ACT  IV.  Sc.  iii 

Bru.  You  did. 

Cas.  I  did  not :  he  was  but  a  fool  that  brought 

My   answer   back.      Brutus   hath   riv'd   my  st 

heart : 

A  friend  should  bear  his  friend's  infirmities, 
But  Brutus  makes  mine  greater  than  they  are. 

Bru.  I  do  not,  till  you  practise  them  on  me. 

Cas.  You  love  me  not. 

Bru.  I  do  not  like  your  faults. 

Cas.  A  friendly  eye  could  never  see  such  faults.      90 

Bru.  A  flatterer's    would  not,   though  they  do 

appear 
As  huge  as  high  Olympus. 

Cas.  Come,  Antony,  and  young  Octavius,  come, 
Kevenge  yourselves  alone  on  Cassius, 
For  Cassius  is  aweary  of  the  world;  95 

Hated  by  one  he  loves;  brav'd  by  his  brother; 
Check'd    like   a    bondman;     all    his    faults 

observ'd, 

Set  in  a  note-book,  learn'd,  and  conn'd  by  iOte, 
To  cast  into  my  teeth.     0,  I  could  weep 
My  spirit  from  mine    eyes!      There  is    my  100 

dagger, 

And  here  my  naked  breast ;  within,  a  heart 
Dearer  than  Plutus'  mine,  richer  than  gold: 
If  that  thou  be'st  a  Eoman,  take  it  forth-, 
I,  that  denied  thee  gold,  will  give  my  heart: 
Strike,  as  thou  didst  at  Caesar;  for,  I  know,  105 
When    thou    didst    hate    him   worst,    thou 
lovedst  him  better 


ACT  IV.  Sc.  iii.]   JULIUS  CAESAR.  131 

Than  ever  thou  lovedst  Cassius. 
Bru.  Sheathe  your  dagger: 

Be  angry  when  you  will,  it  shall  have  scope; 
Do  what  you  will,  dishonour  shall  be  humour, 
cio          0  Cassius,  you  are  yoked  with  a  lamb 

That  carries  anger  as  the  flint  bears  fire ; 
Who,  much  enforced,  shows  a  hasty  spark, 
And  straight  is  cold  again. 

Cas.  Hath  Cassius  liv'd 

To  be  but  mirth  and  laughter  to  his  Brutus, 

us          When    grief  and    blood  ill-temper'd    vexeth 

him? 

Bru.  When  I  spoke  that,  I  was  ill-temper'd  too. 
Cas.  Do  you   confess  so  much?     Give  me  your 

hand. 

Bru.  And  my  heart  too. 
Cas.  0  Brutus! 

Bru.  What's  the  matter? 

Cas.  Have  not  you  love  enough  to  bear  with  me, 

120          When  that  rash  humour  which  my  mother 

gave  me 

Makes  me  forgetful? 

Bru.  Yes,  Cassius;  and,  from  henceforth, 

When  you  are  over  earnest  with  your  Brutus, 
He'll  think  your  mother  chides,  and  leave 

you  so. 

Poet.  [  Within.']  Let  me  go  in  to  see  the  generals; 
125          There  is  some  grudge  between  ?em,  'fc  is  not 

meet 
They  be  alone. 


132  JULIUS  CAESAR.    [ACT  IV.  So.  iii. 

Lucil.  [Within.']  You  shall  not  come  to  them. 
Poet.   [Within.]  Nothing  but  death  shall  stay  me. 
Enter  Poet,  followed  by  Lucilius ,  Titinius ,  and 

Lucius. 

Cas.  How  now!  what's  the  matter? 
Poet.  For   shame,   you    generals!    what   do   you  ia> 

mean? 
Love,  and  be  friends,  as  two  such  men  should 

be; 

For  I  have  seen  more  years,  I'm  sure,  than  ye. 
Gas.   Ha,  ha !  how  vilely  doth  this  cynic  rhyme ! 
Bru.   Get  you  hence,  sirrah;  saucy  fellow,  hence! 
Cas.     Bear  with  him,  Brutus ;  'tis  his  fashion.       135 
Bru.  I'll  know  his  humour,  when  he  knows  his 

time: 
What  should  the  wars  do  with  these  jigging 

fools? 

Companion,  hence! 

Cas.  Away,  away,  be  gone! 

[Exit  Poet. 
Bru.  Lucilius  and  Titinius,  bid  the  commanders 

Prepare  to  lodge  their  companies  to-night.       140 
Cas.  And  come    yourselves,   and    bring  Messala 

with  you 
Immediately  to  us. 

[Exeunt  Lucilius  and  Titinius. 
Bru.  Lucius,  a  bowl  of  wine! 

[Exit  Lucius. 

Cas.  1   did  not  think    you  could  have  been  sc 
angry. 


ACT  IV.  Sc.  iii.]   JULIUS  CAESAR.  133 

Bru.   0  Cassius,  I  am  sick  of  many  griefs. 
145  Cas.   Of  your  philosophy  you  make  no  use, 

If  you  give  place  to  accidental  evils. 
Bru.  No  man    bears  sorrow   better.       Portia  is 

dead. 

Cas.  Ha!  Portia! 
•  Bru.  She  is  dead, 
iso  Cas.  How  'scaped  I  killing  when  I  cross'd  you  so? 

0  insupportable  and  touching  loss ! 
Upon  what  sickness? 

Bru.  Impatient  of  my  absence, 

And  grief  that  young  Octavius  with  Mark 

Antony 
Have  made  themselves  so  strong: — for  with 

her  death 

155          That  tidings  came; — with  this  she  fell  dis- 
tract, 

And,  her  attendants  absent,  swallow'd  fire. 
Cas.  And  died  so? 
Bru.  Even  so. 

Cas.  0  ye  immortal  gods! 

Re-enter  Lucius ,  with  wine  and  taper. 
Bru.  Speak  no  more  of  her.     Give  me  a  bowl  of 

wine. 
In  this  I  bury  all  unkindness,  Cassius. 

[Drinks. 
160  Cas.  My  heart  is  thirsty  for  that  noble  pledge. 

Fill,  Lucius,  till  the  wine  o'erswell  the  cup; 

1  cannot  drink  too  much  of  Brutus'  love. 

[Drinks 


134  JULIUS  CAESAR.    [ACT  IV.  So.  iii. 

Bru.  Come  in,  Titinius!  [Exit  Lucius. 

Re-enter  Titinius,  with  Messala. 
Welcome,  good  Messala. 

Now  sit  we  close  about  this  taper  here,  ies 

And  call  in  question  our  necessities. 

Cas.  Portia,  art  thou  gone? 

Bru.  No  more,  I  pray  you. 

Messala,  I  have  here  received  letters, 
That  young  Octavius  and  Mark  Antony 
Come  down  upon  us  with  a  mighty  power,       m 
Bending  their  expedition  toward  Philippi. 

Mes.  Myself  have  letters  of  the  self-same  tenour. 

Bru.  With  what  addition? 

Mes.  That  by  proscription  and  bills  of  outlawry, 

Octavius,  Antony,  and  Lepidus,  IT. 

Have  put  to  death  an  hundred  senators. 

Bru.  Therein  our  letters  do  not  well  agree; 
Mine  speak  of  seventy  senators  that  died 
By  their  proscriptions,  Cicero  being  one. 

Gas.  Cicero  one! 

Mes.  Cicero  is  dead,  is 

And  by  that  order  of  proscription. 
Had   you  your  letters  from  your  wife,  my 
lord? 

Bru.  No,  Messala. 

Mes.  Nor  nothing  in  your  letters  writ  of  her? 

Bru.  Nothing,  Messala. 

Mes.  That,  methinks,  is  strange.  185 

Bru.  Why  ask  you?    hear  you  aught  of  her  in 
yours? 


ACT  IV  Sc.  iii.]   JULIUS  CAESAR.  135 

Mes.  No,  my  lord. 

Bru.  Now,  as  you  are  a  Roman,  tell  me  true. 

Mes.  Then  like  a  Roman  bear  the  truth  I  tell : 

190          For   certain    she  is   dead,   and    by   strange 

manner. 
Bru.  Why,    farewell,    Portia.      We    must    die, 


With  meditating  that  she  must  die  once, 
I  have  the  patience  to  endure  it  now. 
Mes.  Even   so    great   men    great    losses    should 

endure. 
195  Cas.   I  have  as  much  of  this  in  art  as  you, 

But  yet  my  nature  could  not  bear  it  so. 
Bru.  Well,  to  our   work  alive.      What  do  you 

think 

Of  marching  to  Philippi  presently? 
Cas.  I  do  not  think  it  good. 
Bru.  Your  reason? 

Cas.  This  it  is  2 

300          'Tis  better  that  the  enemy  seek  us : 

So  shall  he  waste  his  means,  weary  his  soldiers, 
Doing  himself  offence ;  whilst  we,  lying  still, 
Are  full  of  rest,  defence,  and  nimbleness. 
Bru.   Good  reasons  must,  of  force,  give  place  to 

better. 

*X)5          The  people  'twixt  Philippi  and  this  ground 
Do  stand  but  in  a  forc'd  affection; 
For  they  have  grudg'd  us  contribution: 
The  enemy,  marching  along  by  them, 
By  them  shall  make  a  fuller  number  up, 


136  JULIUS  CAESAR.    [ACT  IV.  So.  iii. 

Come    on    refreshed,    new-added,    and    en-  210 
courag'd; 

Erom  which  advantage  shall  we  cut  him  off, 

If  at  Philippi  we  do  face  him  there, 

These  people  at  our  back. 

Cas.  Hear  me,  good  brother. 

Bru.  Under  your  pardon.     You  must  note  beside, 

That  we  have  tried  the  utmost  of  our  friends,  215 

Our  legions  are  brim-full,  our  cause  is  ripe : 

The  enemy  increaseth  every  day ; 

We,  at  the  height,  are  ready  to  decline. 

There  is  a  tide  in  the  affairs  of  men, 

Which,  taken  at  the  flood,  leads  on  to  for-  220 
tune: 

Omitted,  all  the  voyage  of  their  life 

Is  bound  in  shallows  and  in  miseries. 

On  such  a  full  sea  are  we  now  afloat; 

And  we  must  take  the  current  when  it  serves9 

Or  lose  our  ventures. 
Cas.  Then,  with  your  will,  go  on ;  i&s 

We'll    along   ourselves,    and   meet   them   at 

Philippi. 
Bru.  The  deep  of  night  is  crept  upon  our  talk, 

And  nature  must  obey  necessity ; 

Which  we  will  niggard  with  a  little  rest. 

There  is  no  more  to  say? 
Cas.  No  more.     Good  night:  srac 

Early  to-morrow  will  we  rise,  and  hence. 
Bru.  Lucius!    [Enter  Lucius.]    My  gown.    [Exit 
Lucius.]  Farewell,  good  Messala? 


ACT  IV.  Sc.  iii.]  JULIUS  CAESAR.  137 

Good  night,  Titinius.     Noble,  noble  Cassius, 
Good  night,  and  good  repose. 
Cas.  0  my  dear  brother ! 

>          This  was  an  ill  beginning  of  the  night  : 

Never  come  such  division  'tween  our  souls! 
Let  it  not,  Brutus. 

Bru.  Every  thing  is  well. 

Cas.  Good  night,  my  lord. 

Bru.  .       Good  night,  good  brother, 

Tit.  Mes.   Good  night,  Lord  Brutus. 
Bru.  Farewell,  every  one. 

[Exeunt  all  but  Brutus. 
Re-enter  Lucius,  with  the  gown. 
240          Give  me  the  gown.      Where  is  thy  instru- 
ment? 

Luc.  Here  in  the  tent. 

Bru.  What,  thou  speak 'st  drowsily? 

Poor  knave,  I  blame  thee  not;  thou  art  o'er- 

watched. 

Call  Claudius  and  some  other  of  my  men ; 
I'll  have  them  sleep  on  cushions  in  my  tent. 
345  Luc.  Varro  and  Claudius ! 

Enter  Varro  and  Claudius. 

Var.  Calls  my  lord? 

Bru.  I  pray  you,  sirs,  lie  in  my  tent  and  sleep, 
It  may  be  I  shall  raise  you  by  and  by 
On  business  to  my  brother  Cassius. 
«so  Var.   So  please  you,  we  will  stand  and  watch  your 
pleasure. 


138  JULIUS  CAESAR.    [ACT  IV.  Sc.  iii. 

Bru.  I  will  not  have  it  so:  lie  down,  good  sirs; 
It  may  be  I  shall  otherwise  bethink  me. 
Look,  Lucius,  here's  the  book  I  sought  for  so; 
I  put  it  in  the  pocket  of  my  gown. 
Varro  and  Claudius  lie  down. 

Luc.   I  was  sure  your  lordship  did  not  give  it  me,  255 
Bru.  Bear  with  me,  good  boy    I  am  much  for- 
getful. 

Canst  thou  hold  up  thy  heavy  eyes  awhile, 
And  touch  thy  instrument  a  strain  or  two?  v    , 
Luc.  Ay,  my  lord,  an  't  please  you. 
Bru.  It  does,  my  boy: 

I  trouble  thee  too  much,  but  thou  art  willing.  260 
Luc.  It  is  my  duty,  sir. 
Bru.  I  should  not  urge  thy  duty  past  thy  might; 

I  know  young  bloods  look  for  a  time  of  rest. 
Luc.   I  have  slept,  my  lord,  already. 
Bru.   It  was  well   done;    and    thou  shalt    sleep  265 

again; 

I  will  not  hold  thee  long :  if  I  do  live, 
I  will  be  good  to  thee. 

\Music,  and  a  song. 

This  is  a  sleepy  tune.     0  murd'rous  slumber  3 
Lay'st  thou  thy  leaden  mace  upon  my  boy, 
That  plays  thee  music?     Gentle  knave,  good  276 

night; 
I  will  not  do  thee  so  much  wrong  to  wake 

thee: 

If  thou  dost  nod,  thou  break'st  thy  instru- 
ment; 


ACT  IV.  Sc.  iii.]    JULIUS  CAESAR.  139 

Til  take  it  from  theeN;   and,  good  boy,  good 

night. 
Let  me  see,  let  me  see;  is  not  the  leaf  turn'l 

down 
2?b          Where  I  left  reading?     Here  it  is,  I  think. 

Enter  Hie  Ghost  of  Caesar. 

How  ill  this  taper  burns!     Ha!  who  comes 

here? 

I  think  it  is  the  weakness  of  mine  eyes 
That  shapes  this  monstrous  apparition. 
It  comes  upon  me.     Art  thou  any  thing? 
280          Art   thou   some   god,   some   angel,   or  some 

devil, 
That  mak'st  my  blood  cold  and  my  hair  to 

stare? 

Speak  to  me  what  thou  art. 
Ghost.  Thy  evil  spirit,  Brutus. 
Bru.  Why  com'st  thou? 

Ghost.  To  tell  thee  thou  shalt  see  me  at  Philippi. 
285  Bru.  Well ;  then  I  shall  see  thee  again? 
Ghost.  Ay,  at  Philippi. 
Bru.  Why,  I  will  see  thee  at  Philippi,  then. 

[Exit  Ghost. 

Now  I  have  taken  heart  thou  vanishest : 
"111  spirit,  I  would  hold  more  talk  with  thee. 
290          Boy,  Lucius!  Varro!  Claudius!  Sirs,  awake! 

Claudius ! 

Luc.  The  strings,  my  lord,  are  false. 
Bru.   He  thinks  he  still  is  at  his  instrument. 


140  JULIUS  CAESAR.    [ACT  IV.  So.  iii. 

Lucius,  awake! 

Luc.  My  lord?  295 

Bru.  Didst   thou  dream,   Lucius,   that   thou  so 

criedst  out? 

Luc.  My  lord,  I  do  not  know  that  I  did  cry. 
Bru.  Yes,  that  thou  didst:    didst  thou  see  any 

thing? 

Luc.  Nothing,  my  lord. 
Bru.  Sleep    again,    Lucius.       Sirrah    Claudius!  soo 

[To  Varro.~\  Fellow  thou,  awake! 
Var.  My  lord? 
Clau.  My  lord? 

Bru.  Why  did  you  so  cry  out,  sirs,  in  your  sleep? 
Var.  Clau.  Did  we,  my  lord? 

Bru.  Ay :  saw  you  any  thing?  sos 

Var.  No,  my  lord,  I  saw  nothing. 
Clau.  Nor  I,  my  lord. 

Bru.  Go  and  commend  me  to  my  brother  Cassius; 

Bid  him  set  on  his  powers  betimes  before, 

And  we  will  follow. 
Var.   Clau.  It  shall  be  done,  my  lord. 


.      ACT  FIFTH. 

SCENE  I. 

The  plains  of  Phihppi. 
Enter  Octavius,  Antony,  and  their  Army. 

Oct.  Now,  Antony,  our  hopes  are  answered : 
You  said  the  enemy  would  not  come  down, 
But  keep  the  hills  and  upper  regions; 
It  proves  not  so:  their  battles  are  at  hand; 
»          They  mean  to  warn  us  at  Philippi  here, 

Answering  before  we  do  demand  of  .them. 
Ant.  Tut,  1  am  in  their  bosoms,  and  I  know 

Wherefore  they  do  it :  they  could  be  content 
To  visit  other  places;  and  come  down 
10          With  fearful  bravery,  thinking  by  this  face 

To  fasten  in  our  thoughts  that  they  have 

courage ; 
But  'tis  not  so. 

Enter  a  messenger. 

Mess.  Prepare  you,  generals: 

The  enemy  comes  on  in  galfant  show; 
Their  bloody  sign  of  battle  is  hung  out, 
15          And  something  to  be  done  immediately. 
Ant.  Octavius,  lead  your  battle  softly  on, 
ui 


142  JULIUS  CAESAR.         [ACT  V.  So,  i 

Upon  the  left  hand  of  the  even  field. 
Oct.  Upon  the  right  hand  I;  keep  thou  the  left. 
Ant.  Why  do  you  cross  me  in  this  exigent? 
Oct.  I  do  not  cross  you;  but  I  will  do  so.  20 

\March. 
Drum.     Enter  Brutus,  Cassius,  and  their  Army  ; 

Lucilius,  Titinius,  Messala,  and  others. 
Byu.   They  stand,  and  would  have  parley. 
Cas.  Stand  fast,  Titinius:  we  must  out  and  talk. 
Oct.  Mark  Antony,  shall  we  give  sign  of  battle? 
Ant.   No,  Caesar,  we  will  answer  on  their  charge. 

Make  forth;    the  generals  would  have  some  25 

words. 

Oct.  Stir  not  until  the  signal. 
Bru.  Words  before  blows:  is  it  so,  countrymen? 
Oct.  Not  that  we  love  words  better,  as  you  do. 
Bru.  Good  words  are  better  than  bad  strokes, 

Octavius. 

Ant.  In  your  bad  strokes,  Brutus,  you  give  good  so 
words : 

Witness  the  hole  you  made  in  Caesar's  heart, 

Crying   "Long  live!  hail,  Caesar!" 
Cas.  Antony, 

The  posture  of  your  blows  are  yet  unknown ; 

But  for  your  words,  they  rob  the  Hybla  bees, 

And  leave  them  honeyless. 

Ant.  .  Not  stingless  too0  85 

Bru.   09  yes,  and  soundless  too; 

For  you  have  stol'n  their  buzzing,  Antony, 

And  very  wisely  threat  before  you  sting. 


ACT  V.  Sc.  i.]        JULIUS  CAESAR.  143 

Ant.  Villains,  you  did  not  so,   when  your  vile 

daggers 
40          Hack'd  one  another  in  the  sides  of  Caesar: 

You  show'd  your  teeth  like  apes,  and  fawn'd 

like  hounds, 
And  bow'd  like  bondmen,  kissing  Caesar's 

feet; 

Whilst  damned  Casca,  like  a  cur,  behind 
Struck  Caesar  on  the  neck.     0  you  flatterers! 
45  Cas.  Flatterers!     Now,  Brutus,  thank  yourself: 
This  tongue  had  not  offended  so  to-day, 
If  Cassius  might  have  rul'd. 
Oct.  Come,  come,  the  cause :  if  arguing  make  us 

sweat, 

The  proof  of  it  will  turn  to  redder  drops, 
so          Look ; 

I  draw  a  sword  against  conspirators ; 

When   think   you   that  the   sword  goes   up 

again? 

Never,  till  Caesar's  three  and  thirty  wounds 
Be  well  aveng'd;  or  till  another  Caesar 
55          Have  added  slaughter  to  the  sword  of  traitors. 
Bru.   Caesar,    thou    canst   not    die   by   traitors' 

hands, 

Unless  thou  bring  'st  them  with  thee. 
Oct.  So  I  hope; 

I  was  not  born  to  die  on  Brutus'  sword. 
Bru.  05  if  thou  wert  the  noblest  of  thy  strain, 
eo          Young   man,    thou   couldst    not    die    more 
honourable. 


144:  JULIUS  CAESAR.        [ACT  V.  Sc.  i. 

Cas.  A    peevish    schoolboy,    worthless    of    such 

honour, 
Join'd  with  a  masker  and  a  reveller! 

Ant.   Old  Cassius  still! 

Oct.  Come,  Antony,  away! 

Defiance,  traitors,  hurl  we  in  your  teeth: 
If  you  dare  fight  to-day,  come  to  the  field ;      65 
If  not,  when  you  have  stomachs. 
[Exeunt  Octavius,  Antony,  and  their  army. 

Cas.  Why,    now,    blow   wind,    swell   billow    and 

swim  bark ! 
The  storm  is  up,  and  all  is  on  the  hazard. 

Bru.  Ho,  Lucilius!  hark,  a  word  with  you. 

Lucil.  [Standing  forth.]  My  lord? 

[Brutus  and  Lucilius  converse  apart. 

Cas.  Messala! 

Mes.   [Standing  forth.'}  What  says  my  general?       TO 

Cas.  Messala, 

This  is  my  birth-day ;  as  this  very  day 

Was    Cassius    born.       Give    me    thy   hand, 

Messala : 

Be  thou  my  witness  that  against  my  will, 
As  Pompey  was,  am  I  compell' d  to  set  75 

Upon  one  battle  all  our  liberties. 
You  know  that  I  held  Epicurus  strong 
And  his  opinion :  now  I  change  my  mind, 
And  partly  credit  things  that  do  presage. 
Coming  from  Sardis,  on  our  former  ensign       so 
Two    mighty   eagles    fell,    and    there    they 
perch'd. 


ACT  V.  Sc.  i.J        JULIUS  CAESAR.  145 

Gorging  and  feeding  from  our  soldiers'  hands , 
Who  to  Philippi  here  consorted  us : 
This  morning  are  they  fled  away  and  gone; 
85          And  in  their  steads  do  ravens,   crows  and 

kites, 

Fly  o'er  our  heads  and  downward  look  on  us, 
As  we  were  sickly  prey:  their  shadows  seem 
A  canopy  most  fatal,  under  which 
Our  army  lies,  ready  to  give  up  the  ghost. 
90  Mes.  Believe  not  so. 

Cas:  I  but  believe  it  partly ; 

For  I  am  fresh  of  spirit  and  resolv'd 
To  meet  all  perils  very  constantly. 
Bru.  Even  so,  Lucilius. 

Cas.  Now,  most  noble  Brutus, 

The  gods  to-day  stand  friendly,  that  we  may, 
95          Lovers  in  peace,  lead  on  our  days  to  age ! 

But  since  the  affairs  of  men  rest  still  incer- 

tain, 

Let's  reason  with  the  worst  that  may  befall. 
If  we  do  lose  this  battle,  then  is  this 
The  very  last  time  we  shall  speak  together : 
100          What  are  you  then  determined  to  do? 
Bru.  Even  by  the  rule  of  that  philosophy 
By  which  I  did  blame  Cato  for  the  death 
Which  he  did  give  himself, — J.  know  not  how, 
But  I  do  find  it  cowardly  and  vile, 
105          For  fear  of  what  might  fall,  so  to  prevent 

The    time    of     life: — arming    myself     with 
patience 


146  JULIUS  CAESAR.         [ACT  V.  Sc.  i. 

To  stay  the  providence  of  some  high  powers 

That  govern  us  below. 
Gas.  Then,  if  we  lose  this  battle, 

You  are  contented  to  be  led  in  triumph 

Thorough  the  streets  of  Eome?  no 

Bru.  No,   Cassius,    no:    think   not,   thou   noble 
Eoman, 

That  ever  Brutus  will  go  bound  to  Eome ; 

He  bears  too  great  a  mind.     But  this  same 
day 

Must  end  that  work  the  ides  of  March  begun ; 

And  whether  we  shall  meet  again  I  know  not.  115 

Therefore  our  everlasting  farewell  take: 

For  ever,  and  for  ever,  farewell,  Cassius! 

If  we  do  meet  again,  why,  we  shall  smile; 

If  not,  why  then,  this  parting  was  well  made. 
Oas.  For  ever,  and  for  ever,  farewell,  Brutus !        ia° 

If  we  do  meet  again,  we'll  smile  indeed; 

If  not,  'tis  true  this  parting  was  well  made. 
Bru.  Why,  then,  lead  on.      0,  that  a  man  might 
know 

The  end  of  this  day's  business  ere  it  come!    ; 

But  it  sufficeth  that  the  day  will  end,  125 

And  then  the   end  is  known.      Come,  ho! 
away !      .  [Exeunt. 


ACT  V.  So.  ii.]      JULIUS  CAESAR.  14? 

SCENE  II. 

The  same.     TJie  field  of  battle. 
Alarum.     Enter  Brutus  and  Messala. 

Bru.  Bide,  ride,  Messala,  ride,  and  give  these  bills 
Unto  the  legions  on  the  other  side. 

[Loud  alarum. 

Let  them  set  on  at  once ;  for  I  perceive 
But  cold  demeanour  in  Octavius'  wing, 
§          And  sudden  push  gives  them  the  overthrow. 
Ride,  ride,  Messala :  let  them  all  come  down. 

[Exeunt 

SCENE  III. 

Another  part  of  the  field. 
Alarums.      Enter  Cassius  and  Titinius. 

Cas.  0,  look,  Titinius,  look,  the  villains  fly! 
Myself  have  to  mine  own  turn'd  enemy: 
This  ensign  here  of  mine  was  turning  back ; 
I  slew  the  coward,  and  did  take  it  from  him. 
8  Tit.   0  Cassius,  Brutus  gave  the  word  too  early ; 
Who,  having  some  advantage  on  Octavius, 
Took  it  too  eagerly:  his  soldiers  fell  to  spoil, 
Whilst  we  by  Antony  are  all  enclos'd. 
Enter  Pindarus. 


148  JULIUS  CAESAR.      [ACT  V.  So.  lit 

Pin.  Fly  further  off,  my  lord,  fly  further  off; 

Mark  Antony  is  in  your  tents,  my  lord:  jo 

Fly,  therefore,  noble  Cassius,  fly  far  off. 
Cas.  This    hill    is    far    enough.       Look,    look, 

Titinius; 

Are  those  my  tents  where  I  perceive  the  fire? 
Tit.   They  are,  my  lord. 

Cas.  Titinius,  if  thou  lovest  me, 

Mount  thou  my  horse,  and  hide  thy  spurs  in  w 

him, 
Till   he   have   brought    thee   up   to  yonder. 

troops, 

And  here  again ;  that  I  may  rest  assured 
Whether  yond  troops  are  friend  or  enemy. 
Tit.  I  will  be  here  again,  even  with  a  thought. 

[Exit. 

Cas.   Go,  Pindarns,  get  higher  on  that  hill;  20 

My  sight  was  ever  thick ;  regard  Titinius, 
And  tell  me  what  thou  not'st  about  the  field. 
\Pindarus  ascends  the  hill. 
This  day  I  breathed  first :  time  is  come  round, 
And  where  I  did  begin,  there  shall  I  end; 
My  life  is  run  his  compass.     Sirrah,  what  25 

news? 

Pin.  [Above.~\  0  my  lord! 
Cas.  What  news? 

Pin.  [Above.~]  Titinius  is  enclosed  round  about 
With  horsemen,  that  make  to  him  on  the  spur ; 
Yet  he  spurs  on.     Now  they  are  almost  on  so 
him. 


ACT  V.  Sc.  iii.]     JULIUS  CAESAR.  149 

Now,    Titinius!      Now  some  light.      0,  he 

lights  too. 
He's  ta'en.  [Shout.]  And,  hark!    they  shout 

for  joy. 
Cos.  Come  down,  behold  no  more. 

O,  coward  that  I  am,  to  live  so  long, 
»          To  see  my  best  friend  ta'en  before  my  face! 

Pindarus  descends. 
Come  hither,  sirrah : 
In  Parthia  did  I  take  thee  prisoner ; 
And  then  I  swore  thee,  saving  of  thy  life, 
That  whatsoever  I  did  bid  thee  do, 
40          Thou  shouldst  attempt  it.     Come  now,  keep 

thine  oath ; 
Now    be    a  freeman:    and  with   this    good 

sword, 
That   ran   through    Caesar's   bowels,    search 

this  bosom. 
Stand  not  to  answer:    here,   take  thou  the 

hilts; 

And,  when  my  face  is  cover'd,  as  'tis  now, 
45          Guide  thou  the  sword.  [Pindarus  stabs  him."] 

Caesar,  thou  art  reveng'd, 
Even  with  the  sword  that  kill'd  thee. 

[Dies. 

Pin.  So,  I  am  free ;  yet  would  not  so  have  been, 
Durst  I  have  done  my  will.     0  Cassius, 
Far  from  this  country  Pindarus  shall  run, 
«o          Where  never  Roman  shall  take  note  of  him. 

[Exit. 


150  JULIUS  CAESAR.      [ACT  V  So.  iii 

Re-enter  Titinius  with  Messala. 
ifes>  It  is  but  change,  Titinius :  for  Octavius 

Is  overthrown  by  noble  Brutus'  power, 

As  Cassius'  legions  are  by  Antony. 
Tit.  These  tidings  will  well  comfort  Cassius. 
Mes.  Where  did  you  leave  him? 
Tit.  All  disconsolate,  65 

With  Pindarus  his  bondman,  on  this  hill. 
Mes.  Is  not  that  he  that  lies  upon  the  ground? 
Tit.  He  lies  not  like  the  living.     0  my  heart! 
Mes.  Is  not  that  he? 
Tit.  No,  this  was  he,  Messala, 

But  Cassius  is  no  more.     0  setting  sun,  eo 

As  in  thy  red  rays  thou  dost  sink  to  night, 

So  in  his  red  blood  Cassius'  day  is  set ; 

The  sun  of  Kome  is  set!     Our  day  is  gone; 

Clouds,  dews,  and  dangers  come;    our  deeds 
are  done ! 

Mistrust  of  my  success  hath  done  this  deed,     es 
wfcs.  Mistrust   of   good   success   hath   done   this 
deed. 

0  hateful  error,  melancholy's  child, 

Why  dost  thou  show  to  the  apt  thoughts  of 
men 

The  things   that  are   not?      0   error,    soon 
conceiv'd, 

Thou  never  com'st  unto  a  happy  birth,  T& 

But  kill'st  the  mother  that  engender 'd  thee! 
Tit.  What,  Pindarus!  where  art  thou,  Pindarus? 
Mes.  Seek  him,  Titinius,  whilst  I  go  to  meet 


ACT  V.  Sc.  iii.]      JULIUS  CAESAR.  151 

The  noble  Brutus,  thrusting  this  report 
75          Into  his  ears ;  1  may  say,  thrusting  it ; 
For  piercing  steel  and  darts  envenomed 
Shall  be  as  welcome  to  the  ears  of  Brutus 
As  tidings  of  this  sight. 

Tit.  Hie  you,  Messala, 

And  I  will  seek  for  Pindarus  the  while. 

[Exit  Messala. 

«o          Why  didst  tnou  send  me  forth,  brave  Cassius? 
Did  I  not  meet  thy  friends?  and  did  not  they 
Put  on  my  brows  this  wreath  of  victory, 
And  bid  me  give  it  thee?     Didst  thou  not 

hear  their  shouts? 

Alas,  thou  hast  misconstrued  every  thing! 
35          But,  hold   thee,  take   this  garland   on  thy 

brow; 

Thy  Brutus  bid  me  give  it  thee,  and  I 
Will  do  his  bidding.     Brutus,  come  apace, 
And  see  how  I  regarded  Caius  Cassius. 
By  your  leave,   gods: — this    is    a    Boman'a 

part: 

so          Come,   Cassius'   sword,   and    find    Titinius' 
heart.  [Kills  himself. 

Alarum.     Re-enter  Messala,  with  Brutus,  young 
Cato,  Strata,  Volumnius,  and  Lucilius. 

Bru.  Where,  where,  Messala,  doth  his  body  lie? 
Mes.  Lo,  yonder,  and  Titinius  mourning  it. 
Bru.   Titinius'  face  is  upward. 
Cato.  He  is  slain. 


152  JULIUS  CAESAR.      [ACT  V.  Sc.  iii. 

Bru. .  0  Julius  Caesar,  thou  art  mighty  yet ! 

Thy  spirit  walks  abroad,  and  turns  our  swords  95 
In  our  own  proper  entrails.       [Low  alarums. 
Cato.  Brave  Titinius! 

Look,  whether   he   have   not  crown 'd  dead 

Cassius ! 

Bru,  Are  yet  two  Eomans  living  such  as  these? 
The  last  of  all  the  Romans,  fare  thee  well ! 
It  is  impossible  that  ever  Eome  100 

Should  breed  thy  fellow.      Friends,   I  owe 

moe  tears 

To  this  dead  man  than  you  shall  see  me  pay. 
I  shall  find  time,  Cassius,  I  shall  find  time0 
Come,    therefore,    and  to   Thasos   send  his 

body: 

His  funerals  shall  not  be  in  our  camp,  105 

Lest  it  discomfort  us.     Lucilius,  come; 
And  come,  young  Cato ;  let  us  to  the  field. 
Labeo  and  Flavius,  set  our  battles  on : 
'Tis  three  o'clock;    and,   Eomans,  yet   ere 

night 

We  shall  try  fortune  in  a  second  fight.  lie 

[Exeunt, 


ACT  V.  Sc.  iv.l     JULIUS  CAESAR.  153 

SCENE  IV. 
Another  part  of  the  field. 

Alarum.     Enter  fighting ,  Soldiers  of  both  armies  ; 
then  Brutus,  young  Cato,  Lucilius,  and  others. 

Bru.  Yet,   countrymen,    0,   yet    hold   up  your 

heads ! 
Cato.  What  bastard  doth  not?     Who  will  go  with 

me? 

I  will  proclaim  my  name  about  the  field: 
I  am  the  son  of  Marcus  Cato,  ho! 
5          A  foe  to  tyrants,  and  my  country's  friend; 

I  am  the  son  of  Marcus  Cato,  ho! 
Bru.  And  I  am  Brutus,  Marcus  Brutus,  I; 

Brutus,  my  country's  friend;   know  me  for 
Brutus !  [Exit. 

Lucil.  0  young  and  noble  Cato,  art  thou  down? 
10          Why,  now  thou  diest  as  bravely  as  Titinius; 

And  mayst  be  honour'd,  being  Cato's  son. 
First  Sol.  Yield,  or  thou  diest. 
Lucil.  Only  I  yield  to  die: 

There   is  so   much  that  thou   wilt   kill   me 
straight;  {.Offering  money. 

Kill  Brutus,  and  be  honour'd  in  his  death. 
15  First  Sol.  We  must  not,     A  noble  prisoner! 
Sec.  Sol    Room,    ho!     Tell    Antony,   Brutus    is 


154  JULIUS  CAESAR.        [ACT  V.  Sc  v. 

First  Sol.    I'll  tell  the  news.      Here  comes  the 
general. 

Enter  Antony. 

Brutus  is  ta'en,  Brutus  is  ta'en,  my  lord. 

Ant.  Where  is  he? 

Lucil.   Safe,  Antony  ;  Brutus  is  safe  enough  : 
I  dare  assure  thee  that  no  enemy 
Shall  ever  take  alive  the  noble  Brutus  : 
The  gods  defend  him  from  so  great  a  shame  ! 
When  you  do  find  him,  or  alive  or  dead, 
He  will  be  found  like  Brutus,  like  himself. 

Ant.  This  is  not  Brutus,  friend;   but,  I  assure 


A  prize  no  less  in  worth  :  keep  ins  man  safe  ; 
Give  him  all  kindness  :  I  had  rather  have 
Such  men  my  friends  than  enemies.     Go  on, 
And  see  whether  Brutus  be  alive  or  dead;        so 
And  bring  us  word  unto  Octavius'  tent 
How  every  thing  is  chanced.  [Exeunt. 

SCE2STE    V. 

Another  part  of  the  field. 

Enter   Brutus,    Dardanius,    Clitus^    Strato,  and 
Volumnius. 

Bru.   Come,  poor  remains  of  friends,  rest  on  this 

rock. 
Cli.   Statilius    show'd   the   torch-light,    but,    my 

lord, 


ACT  V.  Sc.  v.j       JULIUS  CAESAR.  155 

He  came  not  back :  he  is  or  ta'en  or  slain. 
JBru.  Sit  thee  down,  Clitus:  slaying  is  the  wordj 
ft          It  is  a  deed  in  fashion.     Hark  thee,  Clitus. 

[  Whispering 

Cli.  What,  I,  my  lord?    No,  not  for  all  the  world. 
Bru.  Peace  then!  no  words. 
Cli.  I'll  rather  kill  myself. 

Bru.  Hark  thee,  Dardanius.  [  Whispering. 

Dar.  Shall  I  do  such  a  deed? 

Cli.  0  Dardanius! 
10  Dar.  0  Clitus! 

Cli.  What  ill  request  did  Brutus  make  to  thee? 
Dar.  To  kill  him,  Clitus.  Look,  he  meditates. 
Cli.  Now  is  that  noble  vessel  full  of  grief, 

That  it  runs  over  even  at  hfe  eyes. 
is  Bru.  Come  hither,  good  Volumnius;  list  a  word. 
Vol.  What  says  my  lord? 

Bru.  Why,  this,  Volumnius: 

The  ghost  of  Caesar  hath  appear'd  to  me 
Two  several  times  by  night;  at  Sardis  once, 
And,  this  last  night,  here  in  Philippi  fields: 
m          I  know  my  hour  is  come. 

Vol.  Not  so,  my  lord. 

Bru.  Nay,  I  am  sure  it  is,  Volumnius. 

Thou  seest  the  world, Volumnius,  how  it  goes; 
Our  enemies  have  beat  us  to  the  pit: 

[Low  alarums. 

It  is  more  worthy  to  leap  in  ourselves, 
%          Than  tarry  till  they  push  us.     Good  Volum 
nius, 


156  JULIUS  CAESAR.        [ACT  V.  So.  v. 

Thou  know'st  that  we  two  went  to  school 

together : 

Even  for  that  our  love  of  old,  I  prithee, 
Hold  thou  my  sword-hilts,  whilst  I  run  on  it. 
Vol.   That's  not  an  office  for  a  friend,  iny  lord. 

[Alarum  still. 

Cli.  My,  fly,  my  lord;  there  is  no  tarrying  here.     & 
Bru.  Farewell  to  you ;  and  you;  and  you,  Volum- 

nius. 

Strato,  thou  hast  been  all  this  while  asleep; 
Farewell  to  thee  too,  Strato.     Countrymen, 
My  heart  doth  joy  that  yet  in  all  my  life 
I  found  no  man  but  he  was  true  to  me.  85 

I  shall  have  glory  by  this  losing  day 
More  than  Octavius  and  Mark  Antony 
By  this  vile  conquest  shall  attain  unto. 
So  fare  you  well  at  once;  for  Brutus'  tongue 
Hath  almost  ended  his  life's  history:  40 

Night    hangs    upon   mine   eyes;    my   bones 

would  rest, 
That  have  but  labour'd  to  attain  this  hour. 

[Alarum.      Cry  within,  "Fly,  fly,  fly!" 
Cli.  Fly,  my  lord,  fly. 

Bru.  Hence !  I  will  follow. 

[Exeunt  Clitus,  Dardanius,  and  Volumnius. 
I  prithee,  Strato,  stay  thou  by  thy  lord: 
Thou  art  a  fellow  of  a  good  respect ;  18 

Thy  life  hath  had  some  smatch  of  honour 

in  it: 
Hold  then  my  sword,  and  turn  away  thy  face, 


ACT  V.  Sc.  v.]       JULIUS  CAESAR.  157 

While  I  do  run  upon  it.     Wilt  thou,  Strato? 
Stra.  Give  me  your  hand  first.     Fare  you  well, 

my  lord. 
so  Bru.     Farewell,    good    Strato.     [Runs    on    Ms 

sword.]  Caesar,  now  be  still: 
I  kill'd  not  thee  with  half  so  good  a  will. 

[Dies. 
Alarum.     Retreat.     Enter  Octavius,  Antony, 

Messala^  Lucilius,  and  the  army. 
Oct.  What  man  is  that? 
Mes.  My  master's    man.      Strato,  where  is  thy 

master? 

Stra.  Free  from  the  bondage  you  are  in,  Messala: 
65          The  conquerors  can  but  make  a  fire  of  him ; 
For  Brutus  only  overcame  himself, 
And  no  man  else  hath  honour  by  his  death. 
Lucil.  So  Brutus  should  be  found.     I  thank  thee, 

Brutus. 

That  thou  hast  prov'd  Lucilius'  saying  true. 
oo  Oct.  All  that  serv'd  Brutus,  I  will  entertain  them. 

Fellow,  wilt  thou  bestow  thy  time  with  me? 
Stra.  Ay,  if  Messala  will  prefer  me  to  you. 
Oct.  Do  so,  good  Messala. 
Mes.  How  died  my  master,  Strato? 
65  Stra.  I  held  the  sword,  and  he  did  run  on  it. 
Mes.   Octavius,  then  take  him  to  follow  thee, 
That  did  the  latest  service  to  my  master. 
Ant.  This  was  the  noblest  Roman  of  them  all: 

All  the  conspirators,  save  only  he, 
*>          Did  that  they  did  in  envy  of  great  Caesar  \ 


158  JULIUS  CAESAR.       [ACT  V.  So.  v. 

He  only,  in  a  general  honest  thought 
And  common  good  to  all,  made  one  of  them. 
His  life  was  gentle,  and  the  elements 
So  mix'd  in  him  that  Nature  might  stand  up 
And  say  to  all  the  world  "This  was  a  man!"  78 
Oct.  According  to  his  virtue  let  us  use  him, 
With  all  respect  and  rites  of  burial. 
Within  my  tent  his  bones  to-night  shall  lie, 
Most  like  a  soldier,  order'd  honourably. 
So  call  the  field  to  rest ;  and  let's  away  80 

To  part  the  glories  of  this  happy  day. 

[  Exeunt, 


NOTES. 


ABBREVIATIONS. 

Clar.— Clarendon  Press  Edition,    by   W.  Aldis  Wright 
G. — Globe  Edition  of   Shakspere.    References  to   othei 

plays  of  Shakspere's  than  Julius  Caesar  are  according  tc 

this  edition. 
Plut.— Shakespeare's  Plutarch,  edited  by  W.  W.  Skeat. 

ACT  I. 

I.  i.  This  first  scene  indicates  the  existence  of  the  two 
main  forces  at  work  throughout  the  play,  (1)  the  popularity 
which  is  bearing  Caesar  to  the  summit  of  his  ambition,  and 
(2)  the  hatred  of  the  faction  of  the  opposition.  It  is  Shaks- 
pere's custom  thus  to  strike  the  key-note  at  the  outset. 

I.  i.  3.    Being  mechanical.    Being  mechanics  or  artisans. 

I.  i.  10.    In  respect  of.    In  comparison  with. 

I.  i.  11.  Cobbler.  Originally,  a  "mender,"  then  "clumsy 
workman."  In  Shakspere's  English  the  word  has  no  ex- 
clusive reference  to  shoes;  hence  the  repetition  of  the  ques- 
tion by  Marullus. 

I.  i.  12.    Directly.    Straightforwardly. 

I.  i.  15.  Soles.  For  another  instance  of  this  familiar  pun, 
cf.  Merchant  of  Venice,  IV.  i.  123,  24,  "  Not  on  thy  sole,  but 
on  thy  soul,  harsh  Jew,  Thou  makest  thy  knife  keen." 

I.  i.  18.  Be  not  out.  Do  not  fall  out.  The  sense  of  the 
punning  phrase  in  the  next  line  is,  of  course,  "out  at  heels." 
The  favorite  Elizabethan  habit  of  punning  is  illustrated 
again  in  awl  in  ver.  25,  and  in  recover  in  ver.  27,  below. 

I.  i.  28.  Proper.  Originally,  "having  the  qualities  appro- 
priate to  a  man,"  later,  "fine,"  "handsome." 

I.  i.  35-55.  Cf .  Plut..  p.  91.  "  But  the  triumph  he  made  into 
Rome  for  the  same  [i.e.,  the  victory  over  Pompey's  sons], 
did  as  much  offend  the  Romans,  and  more,  than  anything 
159 


160  NOTES. 

that  ever  he  had  done  before  5  because  he  had  not  overcome 
captains  that  were  strangers,  nor  barbarous  kings,  but  had 
destroyed  the  sons  of  the  noblest  man  of  Rome,  whom 
fortune  had  overthrown."  Triumph  is  used  in  the  special 
Roman  sense  of  the  procession  and  religious  ceremonies  held 
in  honor  of  a  victorious  general  on  his  return  to  the  city 
after  some  notable  success. 

I.  i.  41.  Pompey.  The  great  Roman  general  who  had 
ultimately  been  overcome  by  Caesar  at  Pharsalia  in  48  B,  c. 
He  had  been  the  champion  of  the  conservative  party  in 
Rome. 

I.  i.  50.     Replication.     Echo. 

I.  i.  61.     Sort.    Rank. 

I.  i.  65.  Whether.  Pronounced  "whe'er,"  a  contraction 
common  in  earlier  English.  Metal.  Used  in  the  meta- 
phorical sense  of  "spirit,"  for  which  the  spelling  "mettle" 
is  now  customary.  Cf.  I.  ii.  307< 

I.  i.  69.  Ceremonies.  Decorations.  Cf.  trophies  in  ver.  73, 
and  scar/s  in  I.  ii.  295. 

I.  i.  7.1.  Feast  of  Lupercal,  The  Lupercalia,  a  feast  cele- 
brated by  the  Romans  on  the  15th  of  February  in  honor  of 
Lupercus,  an  old  god  of  shepherds.  In  later  times  it  was 
associated  with  the  legend  of  Romulus  and  the  wolf,  and 
also  with  the  worship  of  Pan,  the  Greek  god  of  shepherds 
Cf.  note  on  I.  ii.  1-9. 

I.  i.  74.     The  vulgar.    The  common  people. 

I.  i.  77.    Pitch.    The  height  to  which  a  falcon  could  fly. 

I.  ii.  In  this  second  scene  the  exposition  of  the  situation 
in  Rome  is  more  definite.  Caesar  himself  comes  upon  the 
stage  surrounded  by  pomp  and  flattery,  and  the  nature  and 
danger  of  the  opposition  is  shown  in  the  conversations  of 
Cassius,  Brutus,  and  Casca. 

Stage  direction.  Antony,  for  the  course.  Prepared  for 
running  the  course,  undressed.  On  course,  see  next  note. 

I.  ii.  1-9.  Cf.  Plut.,  p.  163.  "  The  manner  of  this  running 
was  thus.  On  that  day  there  are  many  young  men  of  noble 
house,  and  those  specially  that  be  chief  officers  for  that 
year,  who  running  naked  up  and  down  the  city,  anointed 
with  the  oil  of  olive,  for  pleasure  do  strike  them  they  meet 
in  their  way  with  white  leather  thongs  they  have  in  their 


NOTES.  161 

hands."  The  thongs  were  cut  from  the  'aides  of  goats  and 
dogs  sacririced  by  the  priests  of  Lupercus.  Antony  was  chief 
of  a  new  order  of  these  priests. 

I.  ii.  12.    Soothsayer.    See  Introduction,  pp.  31,  32. 

I.  ii.  18.    Ides  of  March.    March  15th. 

I.  ii.  24.  Stage  direction.  Sennet.  A  particular  set  o* 
notes  on  a  trumpet. 

I.  ii.  29.  Quick.  Lively.  Cf.  its  use  in  the  sense  of  "alive" 
in  "  the  quick  and  the  dead  "  in  the  Apostles'  Creed. 

I.  ii.  34.  Show.  Evidence.  Cf.  I.  ii.  47.  For  the  relative 
as  see  Introduction,  p.  38  (e). 

I.  ii.  35.  Bear  ...  a  hand.  A  figure  from  horsemanship ; 
to  "beararein"  and  so  to  "treat." 

I.  ii.  39.  Merely.  Entirely,  altogether;  an  obsolete  use. 
Cf.  Tempest,  I.  i.  59,  "  We  are  merely  cheated  of  our  lives 
by  drunkards. J> 

I.  ii.  40.    Cf.  Introduction,  p.  37  (l.)(a). 

I.  ii.  41.     Only  proper.    Belonging  exclusively. 

I.  ii.  42.  Soil.  Stain.  Behaviours.  See  Introduction,  p.  37 
(l.)0>). 

I.  ii.  44.    Be  you  one.    Be  assured  that  you  are  one. 

I.  ii.  48.  Mistook.  See  Introduction,  p.  39  (4.;(c).  Passion. 
Feelings. 

I.  ii.  54.    Just.    True. 

I.  ii.  59.  Where.  Used  loosely  of  occasion  rather  than  of 
place.  Of  the  best  respect.  Of  those  most  highly  esteemed. 

I.  ii.  62.  Had  his  eyes.  By  strict  grammar,  his  refers  to 
Brutus  and  the  phrase  means  "  saw  clearly."  But  Wright 
prefers  to  take  it  as  a  loose  phrase  for  "had  their  eyes," 
meaning  "  saw  himself  as  these  others  see  him." 

I.  ii.  69.  Modestly.  Etymologically,  uwith  due  measure," 
11  without  exaggeration  or  diminution."  Or  the  idea  may 
be  that  another  man  may  fitting-ly  enough  speak  of  the  qual- 
ities on  which  it  would  not  be  modest  for  Brutus  himself  to 
dwell. 

I.  ii.  71.    Jealous  on.    Suspicious  of. 

I.  ii.  72.  Laugher.  Buffoon.  The  Folios  read  laughter. 
which  may  be  correct  in  the  sense  of  "  object  of  laughter.'1 

I.  ii.  72,  73.  Did  use  to  stale.  Were  used  to  make  stale 
with  too  frequent  use. 


162  NOTES. 

I.  ii.  74.  Protester.  One  who  makes  strong  profession  ol 
friendship. 

I.  ii.  76.     Scandal.     Slander. 

I.  ii.  77.    Profess  myself.    Supply  "  a  friend." 

I.  ii.  78.    Rout.     Used   contemptuously    for  "company," 

I.  ii.  87.  Indifferently.  Without  emotion.  The  general 
sense  of  ver.  86-87  seems  to  be  that  Brutus  will  not  be  dis- 
turbed if  he  has  to  face  the  alternatives  of  honor  and  death 
or  dishonor  and  life.  The  explanation  of  indifferently  as 
"impartially,"  given  by  Wright  and  other  editors,  is  contra- 
dicted by  ver.  88,  89. 

I.  ii.  88.    Speed.    Make  prosperous. 

I.  ii.  91.    Favour.    Appearance.    Cf.  "ill-favored,"  etc. 

I.  ii.  95.  Lief.  Pronounce  "  lieve,"  to  bring  out  the  pun 
with  live.  [Clar.] 

I.  ii.  100-115.  Shakspere  seems  to  have  invented  this  inci- 
dent. It  may  have  been  suggested  by  the  mention  of  such 
feats  in  swimming  as  we  find  attributed  to  Caesar  in  Plut., 
p.  86. 

I.  ii.  101.  Chafing.  "  A  play  upon  the  two  meanings  of 
*  chafe,' which  signifies  both  *  to  rub  against'  and 'to  be 
angry.' "  [Clar.] 

I.  ii.  109.  Hearts  of  controversy.  Controversial  hearts,  op- 
posing courage.  See  Introduction,  p.  37  (1.)  (a). 

I.  ii.  110.    Arrive.    Arrive  at.    See  Introduction,  p.  39  (6). 

I.  ii.  112, 115.    Note  the  repetition  of  I. 

I.  ii.  114.  On  the  metre  of  this  line  see  Introduction, 
p.  35,  5. 

I.  ii.  119.  Fever.  Plut.  (p.  57)  records  that  Caesar  was  in 
Spain  the  first  time  he  was  seized  with  the  "falling  sick- 
ness." 

I.  ii.  122.  The  inversion  of  the  prose  form  of  statement 
here  ("  the  colour  fled  from  his  lips  ")  has  been  taken  to  sug- 
gest the  figure  of  a  soldier  deserting  his  colors. 

I.  ii.  123.  Whose  bend.  The  direction  of  whose  glance,  i.e., 
whose  glance. 

I.  ii.  124.    His.    Its.    See  Introduction,  p.  37  (3.)  (b). 

I.  ii.  135,  36.  Colossus.  Referring  to  the  bronze  statue  of 
Apollo  at  Rhodes,  said  to  have  been  seventy  cubits  high. 
Bestride  is  used  because  of  the  tradition  that  the  figure  stood 


NOTES.  163 

astride  of  the  mouth  of  the  harbor,  so  that  ships  passed 
between  its  legs.    As  a  matter  of  fact,  it  stood  on  one  side. 

I.  ii.  142.    For  the  metre,  see  Introduction,  p.  34,  1. 

I.  ii.  146.  'Em.  This  form,  which  is  very  common  in  the 
writing-s  of  some  of  the  Elizabethan  dramatists,  is  derived 
not  from  t/iem,  but  from  the  middle  English  hem.  Cf.  III.  ii.  5. 

I.  ii.  152.  Great  flood.  The  deluge  of  Greek  mythology, 
from  which  Deucalion  and  his  wife  Pyrrha  alone  survived. 

I.  ii.  155.  Walls.  The  Folios  read  "walkes"  which  has 
been  defended  as  meaning  "limits." 

I.  ii.  156.  Rome.  Shakspere  seems  to  have  pronounced 
this  "Room."  The  same  pun  occurs  in  K.  John,  III.  i.  180, 
44  That  I  have  room  with  Rome  to  curse  a  while." 

I.  ii.  159.  A  Brutus  once.  The  reference  is  to  Lucius  Ju- 
nius  Brutus,  who  was  a  leader  in  the  expulsion  of  the 
Tarquins  and  the  establishment  of  a  republic  in  Rome 
Plutarch  says  Marcus  Brutus  claimed  descent  from  him. 

I.  ii.  160.  Eternal.  For  Shakspere's  reasons  for  substitut- 
ing this  word  for  "  infernal,"  see  Introduction,  p.  29. 

I.  ii.  162.  Jealous.  Doubtful,  suspicious.  Cf.  I.  ii.  71  and 
note. 

I.  ii.  163.    Aim.    Guess. 

I.  ii.  166.    So.    If,  provided  that. 

I.  ii.  171.     Chew.    Meditate,  ruminate. 

I.  ii.  174.     These  ...  a*.    See  Introduction,  p.  38  (3.)  (e) 

I.  ii.  177.    But.    Even. 

I.  ii.  181.  Proceeded.  Happened.  Worthy  note.  See  Intro- 
duction,  p.  39  (6). 

I.  ii.  186.     Ferret  .  .  .  eyes.    A  ferret  has  red  eyes. 

I.  ii.  192-95.  Cf.  Plut,  p.  97:  "Caesar  also  had  Cassius 
in  great  jealousy,  and  suspected  him  much:  whereupon  he 
said  on  a  time  to  his  friends,  '  what  will  Cassius  do,  think 
ye?  I  like  not  his  pale  looks.'  Another  time  when  Caesar's 
friends  complained  unto  him  of  Antonius  and  Dolabella,  that 
they  pretended  some  mischief  towards  him:  he  answered 
them  again,  4  As  for  those  fat  men  and  smooth-combed 
heads,'  quoth  he,  '  I  never  reckon  of  them;  but  these  pale- 
visaged  and  carrion-lean  people,  I  fear  them  most,'  meaning 
Brutus  and  Cassius." 

I.  ii.  194,     Yond.    An  obsolete  form  of  "  yon." 


164  NOTES. 

I.  ii.  197.     Well-given.    Well-disposed. 

I.  ii.  199.    My  name.    The  man  bearing  my  name,  i.e.,  I. 

I.  ii.  204.  He  hears  no  music.  Cf .  Merchant  of  Venice,  V, 
1.  83-88. 

The  man  that  hath  no  music  in  himself, 
Nor  is  not  moved  with  concord  of  sweet  sounds, 
Is  fit  for  treasons,  stratagems  and  spoils ; 
Tne  motions  of  his  spirit  are  dull  as  night 
And  his  affections  dark  as  Erebus: 
Let  no  such  man  be  trusted. 

For  the  frequency  of  such  an  opinion  in  Shakspere's  day,  cf. 
Chappell,  Old  English  Popular  Music,  I.  59:  "During  the 
lon^  reign  of  Elizabeth,  music  seems  to  have  been  in  univer- 
sal cultivation  as  well  as  universal  esteem.  .  .  .  He  who  felt 
not,  in  some  degree,  its  soothing  influences,  was  viewed  as  a 
morose,  unsocial  being,  whose  converse  ought  to  be  shunned 
and  regarded  with  suspicion  and  distrust." 

I.  ii.  208.    Be.    See  Introduction,  p.  39,  (4.)  (d). 

I.  ii.  209.  Whiles.  Probably  an  irregular  adverbial  geni- 
tive of  the  noun  "while."  It  is  preserved  with  an  excres- 
cent/ "t"  in  our  "whilst." 

I.  ii.  213.  Caesar's  deafness  is  not  mentioned  by  Plutarch, 
but  appears  to  be  imagined  by  Shakspere. 

I.  ii.  218.    Sad.    Serious. 

I.  ii.  221-84.    Cf.  Plut.,  pp.  163,  64. 

I.  ii.  230.    Marry.    Originally  an  oath  by  the  Virgin  Mary. 

I.  ii.  231.  Gentler.  Adjective  for  adverb.  See  Introduc- 
tion, p.  39,  (5.)  (b). 

I.  ii.  239.    Not .  .  .  neither.    See  Introduction,  p.  39,  (5.)  (a), 

I.  ii.  240.    Coronets.    See  note  on  I.  ii.  293. 

I.  ii.  248.  Shouted.  The  1st  Folio  reads  "  howted,"  but,  as 
Wright  notes,  the  cry  was  one  of  applause. 

I.  ii.  253.  Swounded.  Swooned.  A  similar  inserted  "d" 
appears  in  "  sound,"  "  expound,"  etc.  For  Caesar's  liability 
to  the  epilepsy  described  here,  cf.  Plut.,  pp.  57,  89,  95. 

I.  ii.  261.    For  the  metre  see  Introduction,  p.  34, 1  and  2. 

I.  ii.  271.  Plucked  me  ope.  Me  is  what  is  known  as  an 
ethical  dative  =  "  for  me. "  Here  it  has  no  definite  meaning, 
but  is  used  merely  for  vividness.  See  Introduction,  p.  38, 
(3.)  (d).  Ope  is  an  obsolete  form  of  "  open." 


NOTES.  165 

L  ii.  272.    Doublet.    See  note  on  I.  ii.  293. 

I.  ii.  273.  An.  If.  Cf.  ver.  290,  below.  A  man  of  any  occu- 
pation. An  artisan  or  tradesman  like  the  rest  of  the  crowd 
Caesar  was  addressing.  Wright  thinks  that  there  is  also  a 
suggestion  of  the  meaning,  ua  practical  man,  a  man  of 
business." 

I.  ii.  293.  Greek  to  me.  In  using  this  phrase,  as  in  the 
mention  of  doublet  in  ver.  272,  above,  Shakspere  was  thinking 
of  London  rather  than  of  Rome. 

I.  ii.  295.    Scarfs.    Cf.  I.  1.  69,  and  note. 

I.  ii.  300.  7  am  promised  forth.  I  have  accepted  an  invita- 
tion to  go  out. 

I.  ii.  307.  Quick.  Lively.  Cf.  I.  ii.  29,  and  note.  Mettle, 
Spirit,  Cf.  I.  i.  65  and  note,  and  I.  ii.  320  and  note. 

I.  ii.  310.     Tardy.    Slothful. 

I.  ii.  320.  Metal.  The  literal  sense  of  the  word  is  more 
clearly  in  the  author's  mind  here  than  in  I.  i.  65  or  I.  ii.  307. 

I.  ii.  321.    Disposed.    "To"  is  omitted. 

I.  ii.  324.  Bear  me  hard.  Cherish  a  grudge  against  me, 
hate  me.  Cf .  II.  i.  215  and  III.  i.  157. 

I.  ii.  326.  Humour  me.  Win  me  to  his  purposes  by  playing 
upon  my  humor. 

I.  ii.  327.  Hands.  Handwritings.  Cf.  Plut.,  p.  97,  "Now 
they  that  desired  change,  and  wished  Brutus  only  their 
prince  and  governor  above  all  other,  they  durst  not  come  to 
him  themselves  to  tell  him  what  they  would  have  him  to  do, 
but  in  the  night  did  cast  sundry  papers  into  the  Praetor's 
seat,  where  he  gave  audience,  and  the  most  of  them  to  this 
effect:  'Thou  sleepest,  Brutus,  and  art  not  Brutus  in- 
deed.' »  Cf.  I.  iii.  142-46,  note,  and  II.  i.  46-50. 

I.  ii.  329.     Tending  to.    Indicating. 

I.  ii.  332,  33.  Sure  .  .  .  endure.  A  rhyming  couplet  fre- 
quently marked  the  exit  of  an  actor  or  the  close  of  a  scene 
m  the  Elizabethan  drama. 

I.  iii.  Note  the  effectiveness  of  the  contrast  between  the 
superstitious  panic  of  Casca  in  this  scene  and  his  affected 
cynicism  in  the  previous  one.  The  action  in  I.  ii.  took  place 
on  February  15th ;  I.  iii.  is  on  the  night  before  March  15th. 

I.  iii.  1.    Brought.    Escorted. 

I.  iii  3     Sway.    Regular  movement. 


166  NOTES. 

I.  iii.  12.     With.    In  their  attitude  towards. 

I.  iii.  13-  Destruction.  Note  that  the  metre  requires  this 
word  to  be  pronounced  with  four  syllables. 

I.  iii.  14.  More  wonderful.  I.e.,  than  the  storm  just 
described. 

I.  iii.  15-28.  For  these  portents  cf.  Pint.,  pp.  97,  98,  or  see 
Introduction,  p.  31.  Cf.  also  Hamlet,  I.  i.  113  ff. 

I.  iii.  20.    Against.    Opposite. 

I.  iii.  21.  Who.  See  Introduction,  p.  38  (3.)  (e).  Glared. 
The  folios  read  glazed,  which  may  be  a  variant  form  of  the 
same  word.  Wright  quotes  evidence  of  the  modern  dialect 
use  of  glaze  in  the  sense  of  : 'stare." 

I.  iii.  23.     Upon  a  heap.    Into  a  crowd. 

I.  iii.  26.  Bird  of  night.  The  owl,  whose  hooting  was  re 
garded  as  of  ill  omen. 

I.  iii.  30.     These.    Such  and  such.    Cf.  II.  i.  31. 

I.  iii.  32.     Climate.    Country. 

I.  iii.  35.     Clean  from.     Quite  away  from. 

I.  iii.  42.     What  night.    What  a  night ! 

I.  iii.  47.     Me.    See  Introduction,  p.  38  (3.)  (c). 

I.  iii.  48.     Unbraced.  With  clothes  unfastened.  Cf .  II.  i.  262. 

I.  iii.  49.  Thunder-stone.  The  stone  or  bolt  which  was 
supposed  to  fall  with  the  lightning. 

I.  iii.  60.  Put  on.  Actually  suffer,  not  "pretend  to  suf- 
fer." In.  Into. 

I.  iii.  63,  64.  After  why,  supply  uwe  see,"  or  some  similar 
phrase. 

I.  iii.  64.  From  quality  and  kind.  Contrary  to  their  dispo- 
sition and  nature.  [Clar.]  Cf.  quality  in  ver.  68  below. 

I.  iii.  65.  The  reading  in  the  text  follows  the  Folios,  and 
seems  to  be  defensible,  taken  as  meaning  that  all  kinds  of 
people  are  led  to  speculate  about  the  strange  happenings. 
The  common  emendation  is:  "Why  old  men  fool  and 
children  calculate." 

I.  iii.  66.     Their  ordinance.    What  they  are  ordained  to  be. 

I.  iii.  67.  Preformed  faculties.  Faculties  originally  created 
for  special  purposes. 

I.  iii.  68.  Quality.  Nature,  kind  of  thing.  Cf.  I.  iii.  64, 
and  note. 

t.  \ii.  11.    State.    State  of  affairs. 


NOTES.  167 

I.  iii.  75.  It  seems  most  natural  to  understand  this  as  a 
reference  to  the  lion  described  by  Casca  in  I.  iii.  20-22,  and 
to  suppose  that  Shakspere  forgot  that  it  was  to  Cicero,  not 
to  Cassius,  that  Casca  had  mentioned  it.  Or  we  may  sup- 
pose the  prodigy  already  a  matter  of  common  rumor. 

I.  iii.  81.     Thews.    Muscles. 

I.  iii.  82.     Woe  the  while.    Alas  for  these  times! 

1.  iii.  83.  With.  Shakspere  often  uses  "with"  where  we 
should  use  "by";  e.g.,  u  Marr'd,  as  you  see,  with  traitors," 
III.  ii.  206. 

I.  iii.  95.     "  Can  forcibly  confine  spiritual  strength." 

I.  iii.  114.  My  answer,  etc.  I  shall  be  called  on  to  answer 
for  my  words. 

I.  iii.  117.  Fleering.  Grinning,  mocking.  For  that,  see 
Introduction,  p.  38,  (3.)  (e).  Hold,  my  hand.  Stop,  here's  my 
hand  on  it. 

I.  iii.  118.  Factious.  Active  in  organizing  a  party  (with- 
out the  evil  implications  of  the  modern  usage). 

I.  iii.  123.     Undergo.    Undertake. 

I.  iii.  126.  Pompey's  porch.  A  porch  attached  to  the  theatre 
built  by  Pompey  on  the  Campus  Martius.  Cf.  III.  i.  12, 
note. 

I.  iii.  128.  Complexion  of  the  element.  The  aspect  of  the 
heavens. 

I.  iii.  129.    Favour.    Appearance.    Cf.  I.  ii.  91  and  note. 

I.  iii.  135.  Incorporate.  In  one  body  with  us,  closely 
united. 

I.  iii.  138.  There's  two,  etc.  See  Introduction,  p.  38,  (4.)  (a) 
and  cf .  I.  iii.  148. 

I.  iii.  142-46.  Cf .  Plut,  p.  112 :  "  But  for  Brutus,  his  friends 
and  countrymen,  both  by  divers  procurements  and  sundry 
rumours  of  the  city,  and  by  many  bills  also,  did  openly  call 
and  procure  him  to  do  that  he  did.  For  under  the  image 
of  his  ancestor  Junius  Brutus  (that  drave  the  kings  out  of 
Rome)  they  wrote :  *  O,  that  it  pleased  the  gods  thou  wert 
now  alive,  Brutus ! '  and  again,  *  that  thou  wert  here  among 
us  now ! '  His  tribunal  or  chair,  where  he  gave  audience 
during  the  time  he  was  Praetor,  was  full  of  such  bills: 
*  Brutus,  thou  art  asleep,  and  art  not  Brutus  indeed.'  "  Cf 
i.  ii.  327,  note. 


lt>«  NOTESo 

I.  iii.  144.  The  logical  order  is,  '-'  Where  but  Brutus  may 
find  it." 

I.  iii.  148,  155.    See  Introduction,  p.  38,  (4.)  (a). 

I.  iii.  152.    Pompey's  theatre.    Cf.  I.  iii.  126,  note. 

I.  iii.  157.    Cf.  Plut.,  p.  112. 

I.  iii.  159.  Alchemy.  The  old  science  by  which  medieval 
philosophers  tried  to  turn  base  metals  into  gold. 

I.  iii.  162.     Conceited.    Conceived,  formed  an  idea  of. 

ACT  II. 

The  second  act  carries  on  the  exposition  of  the  main  char- 
acters and  brings  the  development  of  the  plot  all  but  to  the 
climax. 

II.  i.    The  first  scene  elaborates  still  further  the  character 
of  Brutus,  showing  him  in  a  variety  of  relations— to  his 
attendant,  to  his  friends,  and  to  his  wife ; — and  by  means  of 
soliloquy,  brings  out  clearly  his  attitude  towards  Caesar 
and  the  proposed  assassination. 

II.  i.  1.     What.    A  mere  exclamation,  like   when  in  ver.  5. 

II.  i.  12.     General.    The  general  public,  the  community. 

II.  i.  18.  The  abuse  of  greatness.  The  evil  which  greatness 
Is  liable  to  do. 

II.  i.  19.  Remorse.  Pity  (here,  as  often  in  Elizabethan 
English,  without  the  sense  of  self-reproach  for  past  ac- 
tions). 

II.  i.  20.  Affections.  Passions  in  general.  Swayed.  Gov- 
erned. 

II.  i.  21.    Proof.    Experience. 

II.  i.  23.  Climber  upward.  Some  editors  put  a  hyphen 
between  these  words  to  bring  out  more  clearly  the  relation 
of  upward. 

II.  i.  26.    Degrees.     In  the  literal  sense  of  "  steps." 

II.  i.  28.  Prevent.  The  etymological  sense  of  u  come  be- 
fore," "anticipate,"  is  still  present  in  the  use  of  the  word 
here.  Cf .  V.  i.  105.  Quarrel.  Cause  of  complaint. 

II.  i.  29.  Colour.  Plausible  appearance.  The  general 
sense  is,  "  Since  no  plausible  complaint  can  be  based  on  his 
present  conduct,  etc." 

U.  i.  3.      These  and  these.     Cf .  I.  iii.  30  and  note. 


NOTES.  169 

II.  i.  35.  Closet.  For  the  sense  in  which  this  word  is 
nsed.  cf.  II.  i.  7. 

II.  i.  37.    Cf.  I.  ii.  326-30. 

II.  i.  40.  Ides.  The  Folios  read  "first,"  but  the  context 
(e.g.,  ver.  59)  shows  that  this  must  be  a  slip. 

II.  i.  44.    Exhalations.    Meteors. 

II.  i.  48.  I  follow  Grant  White  in  regarding-  this  line  as 
part  of  the  soliloquy,  not  as  the  end  of  the  letter.  Brutus 
takes  up  the  letter  phrase  by  phrase.  Cf.  ver.  51  and  55. 

II.  i.  50.     Took.    See  Introduction,  p.  39  (4.)  (c). 

II.  i.  56.     Thee.    To  thee,  dative  case. 

II.  i.  59.  Fifteen.  So  the  Folios.  Most  editors  have  fol- 
lowed Theobald  in  changing  this  to  "fourteen."  But  it 
appears  from  ver.  101-110  and  192,  93  that  it  is  past  midnight, 
and  that  the  fifteenth  might  be  regarded  as  begun,  so  that 
Lucius  might  easily  be  supposed  to  use  the  phrase  in  the 
text  though  Brutus  in  ver.  40  spoke  of  the  ides  as  "to- 
morrow." 

II.  i.  64.    Motion.    Motive,  impulse. 

II.  i.  66.  The  Genius,  etc.  "  The  reasonable  soul  and  the 
t>odily  powers."  [Clar.] 

II.  i.  67.  Man.  The  Folios  read  ua  man,"  which  disturbs 
the  metre  and  is  not  necessary  for  the  sense. 

II.  i.  70.  Your  brother  Cassius.  Cassius  had  married 
Junia,  the  sister  of  Brutus. 

II.  i.  72.    Moe.    The  old  comparative  of  "many." 

II.  i.  73,  74.  Wright  notes  that  Shakspere  is  here  thinking 
of  the  slouched  hat  of  his  own  time  rather  than  of  the  brim- 
less  ' '  pileus ' '  of  the  Romans.  Cf .  I.  ii.  240,  272,  293,  and  notes. 

II.  i.  76.    Favour.    Cf.  I.  ii.  91,  note,  and  I.  iii.  129. 

II.  i.  83.  Path.  If  this  reading  is  correct,  it  must  be  a 
verb  meaning  "walk."  Coleridge  emended  to  "put"  and 
omitted  the  comma,  which  is  found  only  in  the  second  of 
the  Folios. 

II.  i  84.  Erebus.  In  Greek  mythology,  the  region  of 
.  nether  darkness  between  Earth  and  Hades.  It  is  often  used 
of  the  lower  world  in  general. 

II.  i.  104.     Fret.    Mark  with  ornamental  lines. 

II.  i.  107.  Growing  on.  Tending  towards,  encroaching 
on.  Casca  is  pointing  out  that  in  the  early  spring  the  sun 


170  NOTES. 

rises  to  the  south  of  east.  The  conversation  is  put  in 
merely  to  give  time  to  Brutus  and  Cassius  for  a  whispered 
conference. 

II.  i.  108.  Weighing.  Taking  into  consideration.  To  what 
is  this  participle  related? 

II.  i.  117.  Hence  to  Ms  idle  bed.  Go  to  his  bed  and  lie 
there  idle. 

II.  i.  119.  By  lottery.  The  implication  is  that  the  cruelties 
of  the  tyrant  will  be  purely  capricious  and  undeserved. 

II.  i.  125.  Secret.  Having  promised  secrecy.  Spoke.  See 
Introduction,  p.  39  (4.)  (c). 

II.  i.  129.  Cautelous.  Deceitful.  The  word  cautel  orig- 
inally meant  merely  "  caution  "  but  became  degraded  to 
" cunning,"  "deceit." 

II.  i.  130.  Carrions.  Decaying  carcases :  used  contemp- 
tuously of  infirm  old  men. 

II.  i.  133.    Even.     All  on  a  high  level. 

II.  i.  134.  Insuppressive.  Not  to  be  suppressed.  Cf.  As 
You  Like  It,  III.  ii.  10,  "  The  fair,  the  chaste  and  unexpress- 
ive  she."  Mettle.  Cf.  I.  i.  65,  I.  ii.  307,  and  notes. 

II.  i.  138.  Guilty  .  .  .  bastardy.  Each  guilty  of  an  act 
that  dishonors  its  origin. 

II.  i.  150.  Break  with  him.  Tell  him  of  the  matter.  Cf. 
the  modern  sense. 

II.  i.  156-91.  Cf.  Plut.,  p.  119:  "  All  the  conspirators,  but 
Brutus,  .  .  .  thought  it  good  also  to  kill  Antonius,  because 
he  was  a  wicked  man,  and  that  in  nature  favoured  tyranny : 
besides  also,  for  that  he  was  in  great  estimation  with  sol- 
diers, having  been  conversant  of  long  time  amongst  them : 
and  especially  having  a  mind  bent  to  great  enterprises,  he 
was  also  of  great  authority  at  that  time,  being  Consul  with 
Caesar.  But  Brutus  would  not  agree  to  it.  First,  for  that 
he  said  it  was  not  honest :  secondly,  because  he  told  them 
there  was  hope  of  change  in  him.  For  he  did  not  mistrust 
but  that  Antonius,  being  a  noble-minded  and  courageous 
man,  (when  he  should  know  that  Caesar  was  dead),  would 
willingly  help  his  country  to  recover  her  liberty,  having 
them  an  example  unto  him  to  follow  their  courage  and 
virtue."  Cf.  also  Plut.,  p.  164. 

II.  i.  157.     Of  him.     In  him. 


NOTES.  171 

II.  i.  158.     Shrewd  contriver.     Mischievous  schemer. 

II.  i.  164.  Envy.  Used  in  the  more  general  sense  of 
e£  malice."  Cf.  envious  in  ver.  178,  below. 

II.  i.  166.     For  the  metre,  see  Introduction,  p.  35,  5. 

A.  i.  169.     Come  by.    Get  at. 

II,  i.  171.  Gentle.  In  Elizabethan  English  this  word  fre- 
quently bears  the  earlier  meaning  of  "  well-born,"  and  so 
"  honorable,1'  as  here. 

II.  i.  175.  Subtle.  Working  under  the  surface,  dissem- 
bling. 

II.  i.  178.    Envious.    Cf.  note  on  ver.  164,  above. 

II.  i.  187.  The  1st  Folio  has  a  semi-colon  after  himself. 
This  punctuation,  or  that  adopted  in  the  text,  implies  the 
sense,  "  All  the  harm  he  can  do  is  to  injure  himself,  i.e.,  he 
can  take  thought,  etc."  If  the  comma  or  semi-colon  after 
himself  be  removed,  himself  becomes  intensive  instead  of 
reflexive,  and  we  have  a  case  of  the  split  infinitive.  Take 
thought.  Become  melancholy.  This  use  of  thought  in  the 
sense  of  "  anxiety,"  "brooding,"  is  common  in  Shaks- 
perean  English.  Cf.  Hamlet,  III.  i.  84,  85. 

And  thus  the  native  hue  of  resolution 

Is  sicklied  o'er  with  the  pale  cast  of  thought. 

II.  i.  188.     "  And  it  would  be  a  good  thing  if  he  did  so." 

II.  i.  190.     Fear.    Cause  of  fear. 

II.  i.  192.  Clock.  Note  the  anachronism.  Stricken.  See 
Introduction,  p.  39  (4.)  (c). 

II.  i.  194.     Whether.    See  Introduction,  p.  34,  2. 

II.  i.  196.  From.  Away  from,  contrary  to.  Main.  Strong, 
or,  perhaps,  "general." 

II.  i.  197.  Ceremonies.  Religious  rites.  Contrast  the  use 
in  I.  i.  69. 

II.  i.  198.    Apparent.    Seen  by  all,  and  so  "undeniable." 

II.  i.  204.  Unicorns  .  .  .  trees.  Unicorns  were  supposed  to 
be  captured  by  being  induced  to  pursue  the  hunter,  who 
stepped  behind  a  tree,  into  which  the  animal  ran  his  horn 
and  remained  fixed. 

II.  i.  205.  Bears  with  glasses.  Bears  were  supposed  to  be 
fascinated  by  mirrors,  so  that  the  hunters  got  an  opportu- 
nity for  deliberate  attack. 


172  NOTES. 

II.  i.  215.    Bear  .  .  .  hard.    Hate.     Cf .  I.  ii.  324. 

II.  i.  218.    By  him.     By  his  house. 

II.  i.  224.  Fresh  and  merrily.  Which  is  the  modern  idiom, 
adjective  or  adverb? 

II.  i.  225.     Put  on.    Wear  the  appearance  of. 

II.  i.  227.  Formal  constancy.  Absence  of  change  in  out- 
ward form. 

II.  i.  230.  Honey-heavy  dew.  The  Folios  have  "  honey- 
heavy-dew,"  and  Collier,  followed  by  White  and  others, 
emended  to  "  heavy  honey-dew."  The  general  meaning  is 
clear. 

II.  i.  231.    Nor  no.    See  Introduction,  p.  39,  (5.)  (a). 

II.  i.  233.  Portia.  For  this  scene  with  Portia,  cf.  Plut., 
p.  115. 

II.  i.  238.    Stole.    See  Introduction,  p.  39,  (4.)  (c). 

II.  i.  246.     Wafture.     Wave. 

II.  i.  248.  Impatience.  For  the  metrical  value,  see  Intro- 
duction, p.  36. 

II.  i.  250.  Humour.  A  man's  temperament  or  his  mood 
was  supposed  to  be  determined  by  the  predominance  of  on& 
of  the  four  "  humours,"  blood,  choler,  phlegm,  and  melan- 
choly, which  inhabited  the  body.  From  this  idea  of 
44 mood"  is  derived  the  sense  of  "caprice."  For  another 
use,  cf.  ver.  262,  below. 

II.  i.  251.    His.     Its.    See  Introduction,  p.  37,  (3.)  (b). 

II.  i.  254.     Condition.     Disposition. 

II.  i.  255.  Dear  my  lord.  The  transposition  is  due  to  the 
frequent  close  association  of  the  possessive  and  the  noun. 
So  we  have  often  "  good  my  lord  ";  in  Romeo  and  Juliet, 
III.  v.  200,  "sweet  my  mother";  and  in  Troilus  and 
Cressida,  V.  ii.  109,  "poor  our  sex." 

II.  ii.  261.    Physical.     Wholesome. 

II.  i.  262.  Unbraced.  Cf.  I.  iii.  48.  Humours.  Moisture, 
dampness. 

II..  i.  266.    Rheumy.    Causing  rheum  or  catarrh. 

II.  i.  268.  Sick  offense.  Harmful  cause  of  sickness.  Cf. 
"familiar  instances"  in  IV.  ii.  16,  and  see  Introduction, 
p.  37,  (1.)  (a). 

II.  i.  271.     Charm.    Conjure. 

II.  i.  275.    Heavy.     Sad. 


NOTES.  173 

II.  i.  283.  In  sort  or  limitation.  In  a  limited  way,  with 
restrictions. 

II.  i.  284.    Keep  with.    Live  with. 

II.  i.  285.  In  the  suburbs.  In  the  outskirts,  not  in  the 
heart.  It  has  been  suggested  that  there  is  a  further  refer- 
ence, viz.,  to  the  unsavory  reputation  which  the  suburbs 
of  London  had  in  Shakspere's  time. 

II.  i.  295.  Cato^s  daughter.  Marcus  Porcius  Cato,  sur- 
named  Uticensis,  a  patriot  and  Stoic  philosopher,  was  one 
of  the  most  determined  opponents  of  Caesar.  He  com- 
mitted suicide  at  Utica  in  N.  Africa  after  Caesar's  victory 
at  Thapsus  in  46  B.C.  On  this  passage  cf.  Plut.,  pp.  115-16: 
**  *  And  for  myself,  I  have  this  benefit  moreover,  that  I  am 
the  daughter  of  Cato,  and  wife  of  Brutus.  This  not  wit  h- 
standing,  I  did  not  trust  to  any  of  these  things  before,  until 
that  now  I  have  found  \>y  experience  that  no  pain  or  grief 
whatsoever  can  overcome  me.'  With  those  words  she 
shewed  him  her  wound  on  her  thigh,  and  told  him  what 
she  had  done  to  prove  herself." 

II,  i.  299.     Constancy.    Firmness.    Cf.  II.  i.  227  and  II.  iv.  6. 

II.  i.  308.  Charactery  of.  What  is  charactered  or  writ- 
ten on. 

II.  i.  312.  Howl  An  exclamation  of  surprise  at  the  signs 
of  sickness. 

II.  i.  313.     Vouchsafe.     "  Condescend  to  accept."   [Clar.] 

II.  i.  331.  To  whom.  To  him  to  whom.  The  Folios  have 
a  comma  after  going,  a  punctuation  which  compels  us  to 
give  unfold  a  double  object,  (1)  what  it  is,  and  (2)  to  whom 
it  must  be  done.  Set  on  your  foot.  This  seems  to  be  equiva- 
lent to  some  such  colloquialism  as  "Go  ahead." 

II.  ii.  This  scene  serves  to  display  the  character  of 
Caesar,  and  to  advance  the  plans  of  the  conspirators.  In 
his  stress  upon  Caesar's  vanity  and  arrogance  Shakspere 
follows  hints  in  Plutarch's  account  of  Caesar  in  the  last 
year  of  his  life.  The  general  impression  of  Caesar  given 
by  Shakspere  differs  from  that  given  by  Plutarch,  not  so 
much  on  account  of  characteristics  invented  by  Shakspere 
as  because  the  proportions  are  changed  by  the  omission  of 
the  narrative  of  Caesar's  more  heroic  days  which  forms 
the  greater  part  of  the  'Life  by  Plutarch.  It  is  to  be  noted 


174  NOTES, 

also  that  the  contrast  between  the  character  of  Brutus  as 
shown  in  the  previous  scene  and  that  of  Caesar  in  the 
present  one  is  emphasized  by  the  contrast  of  their  wives 
and  their  respective  relations  to  them. 

II.  ii,  1.    Have.    See  Introduction,  p.  39,  (4.)  (b). 

II.  ii.  5.    Present.     Immediate. 

II.  ii.  6.  Success.  This  word  in  older  English  is  fre- 
quently neutral,  implying1  merely  "result."  Hence  jt  is 
often  qualified  by  "  good  "  or  "  ill." 

IL  ii.  10.     Shall  forth.    See  Introduction,  p.  39,  (4.)  (e). 

II.  ii.  13.  Stood  on  ceremonies.  Put  stress  on  religious 
signs  or  omens.  Cf .  the  uses  of  ceremonies  in  I.  i.  69  and 
II.  i.  197. 

II.  ii.  14-25.     See  Introduction,  p.  31. 

II.  ii.  16.  Watch.  Wright  notes  that  here  again  Shaks- 
pere  is  thinking  of  London  rather  than  of  Rome. 

II.  ii.  20.  Right  form  of  war.  All  the  regular  array  of 
battle. 

II.  ii.  23.  Did  neigh.  The  first  Folio  reads  "do  neigh," 
the  others,  "  did  neigh."  The  confusion  of  tenses  may  be 
intentional,  to  indicate  excitement.  Note  the  variety  of 
tenses  throughout  the  speech. 

II.  ii.  18-24.  These  omens  are  referred  to  by  Shakspere 
again  in  Hamlet,  I.  i.  113,  ff. : 

In  tlie  most  high  and  palmy  state  of  Rome, 
A  little  ere  the  mightiest  Julius  fell, 
The  graves  stood  tenantless  and  the  sheeted  dead 
Did  squeak  and  gibber  in  the  Roman  streets. 

For  the  chronological  relation  between  Julius  Caesar  and 
Hamlet,  see  Introduction,  p.  25. 

II.  ii.  25.    All  use.    Which  sense  of  use  is  here  employed? 

II.  ii.  42.  Should  be.  Would  be.  The  modern  distinction 
between  " should"  and  "would,"  "shall"  and  "will" 
dates  from  the  seventeenth  century,  and  is  not  observed  by 
Shakspere. 

II.  ii.  46.  We  are.  The  Folios  read  "  We  heare,"  but 
nearly  all  modern  editors  emend  to  "we  are"  or  "we 
were." 

II.  ii.  56.    Humour.    Whim,  caprice.  Cf .  II.  i.  250  and  note 


NOTES.  175 

II.  ii,  73.  Satisfaction.  For  metrical  purposes  this  word 
has  here  five  syllables.  Cf.  impatience  in  II.  i.  248  and  see 
Introduction,  p.  36. 

II.  ii.  76.  Statue.  If  statue  is  dissyllabic,  this  line  is  nine- 
syllabled.  But  in  Richard  III.,  III.  vii.  25, 

But  like  dumb  statues  or  breathing  stones, 

It  has  three  syllables,  and  other  writers  of  the  time  used 
"  statua."  Hence  editors  have  here  read  either  "  statue"  " 
or  "statua."  Cf.  III.  ii.  197. 

II.  ii.  89.  Tinctures.  It  was  a  custom  to  preserve  as 
relics  handerchiefs  tinctured  or  stained  with  the  blood  of 
noted  persons.  Cognizance.  A  heraldic  term  for  a  badge. 

II.  ii.  97.    Apt  to  be  rendered.    Easily  made. 

II.  ii.  103.    Proceeding.    Career. 

II.  ii.  104.  And  reason,  etc.  My  reason  (which  might 
have  made  me  hesitate  to  speak  thus)  is  subject  to  my 
affection  for  you. 

II.  ii.  114.    Strucken.    See  Introduction,  p.  39,  (4.)  (c). 

II.  ii.  121.  Hour's.  The  metre  requires  this  word  to  be 
dissyllabic  here. 

II.  ii.  129.     Yearns.     Shudders. 

II.  iii.  The  chief  effect  of  this  short  scene  is  to  increase 
the  excitement  before  the  culmination  of  the  conspiracy,  by 
suggesting  a  possible  way  of  escape  for  Caesar. 

II.  iii.  13.     Out  of,  etc.     Free  from  envious  rivalry. 

II.  iii.  15.     Contrive.    Conspire. 

II.  iv.  The  part  of  the  Soothsayer  in  this  scene  serves 
the  same  dramatic  purpose  as  that  of  Artemidorus  in  the 
previous  one.  For  the  rest,  the  scene  elaborates  the  char- 
acter of  Portia  by  exhibiting  her  wifely  anxiety. 

II.  iv.  6.     Constancy.    Cf.  II.  i.  227,  II.  i.  299  and  notes. 

II.  iv.  14.     Sickly.    What  part  of  speech  is  this? 

II.  iv.  32.     For  the  metre,  see  Introduction,  p.  35,  5. 

ACT  III. 

In  this  central  act  the  plot  reaches  its  climax  and  the 
counter-plot  begins. 

III.  i.     In  the  first  scene  the  movement  is  rapid  and  the 
speeches  short,  whispered,  and  full  of  suppressed  excite- 


176  NOTES. 

ment  (except  the  lordly  utterances  of  the  unconscious 
Caesar),  up  to  the  moment  of  the  assassination.  Then, 
after  a  moment  of  consternation,  the  action  pauses  while 
the  chief  persons  utter  themselves  on  the  situation. 

III.  i.  8.  Us  ourself.  This  use  of  the  plural  is  meant  to 
indicate  Caesar's  assumption  of  royalty.  It  is,  of  course, 
English,  not  Roman.  Served.  We  might  expect  a  word 
meaning  "attended  to,"  but  it  is  difficult  to  get  clear  evi- 
dence for  this  use  elsewhere.  Wright  takes  it  as  mean- 
ing, "presented,"  as  in  the  phrase  "  serve  a  summons," 
and  Damon  suggests  that  it  is  a  metaphor  from  the  table. 

III.  i.  12.  Capitol.  Shakespere  evidently  implies  here, 
as  in  Hamlet,  III.  ii.  108,  109,  that  the  assassination  took 
place  in  the  Capitol,  though  Plutarch  says  Caesar  was 
killed  in  one  of  the  porches  about  the  Theatre  of  Pompey. 
It  was  here  that  the  Senate  was  sitting,  and  here  stood  the 
statue  of  Pompey  which  Shakspere  transfers  to  the  Capitol. 
It  will  be  remembered  that  in  I.  iii.  126  Shakspere  uses 
"  Pompey 's  porch"  as  the  meeting  place  of  the  conspira- 
tors. The  stage-directions  are  modern. 

III.  i.  18.    Makes  to.     Makes  for,  makes  his  way  towards. 

III.  i.  19.     Sudden.     Quick. 

III.  i.  22.     Constant.     Firm.     Cf.  II.  iv.  6  and  note. 

III.  i.  28.  Presently.  At  once.  Cf.  II.  ii.  5  and  note. 
Prefer.  Present. 

III.  i.  29.     Addressed.     Prepared. 

III.  i.  30.     Is  this  line  strictly  grammatical? 

III.  i.  38.  Pre-ordinance.  About  his  own  decrees  Caesar 
uses  language  usually  associated  with  divine  laws. 

III.  i.  39.  Law.  Johnson's  emendation  for  "  lane,"  the 
reading  of  the  Folios.  Of  children,  i.e.,  liable  to  capricious 
change.  Fond  to  think.  So  foolish  as  to  think.  » 

III.  i.  42.     With.     By.    Cf .  I.  iii.  83  and  note. 

III.  i.  47, 48.  Ben  Jonson  quoted  this  passage  in  an 
altered  form  and  ridiculed  it.  "  Many  times  he  [Shaks- 
pere] fell  into  those  things,  could  not  escape  laughter,  as 
when  he  said  in  the  person  of  Caesar,  one  speaking  to  him, 
*  Caesar,  thou  dost  me  wrong.'  He  replied:  'Caesar  did 
never  wrong  but  with  just  cause,'  and  such  like,  which 
were  ridiculous."  (Timber,  ed.  Schelling,  p.  23.)  This  has 


NOTES.  177 

led  some  editors  to  emend  the  text  in  conformity  with1 
Jonson's  quotation,  but  no  change  seems  necessary. 

III.  i.  51.  Repealing.  Recalling1.  Cf.  repeal  in  ver.  54, 
above. 

III.  i.  57.     Enfranchisement.    The  rights  of  a  free  citizen. 

III.  i.  59.    Pray  to  move.    Pray  others  to  change. 

III.  i.  67.    Apprehensive.    Intelligent. 

III.  i.  69,  70.  Holds  .  .  .  motion.  These  words  are  usually 
understood  to  mean  "  maintains  his  place,  unmoved  by  any 
force." 

III.  i.  77.  "  Et  tu,  Brute!9  This  phrase  is  not  found  in 
any  of  the  classical  authorities  on  the  death  of  Caesar,  and 
its  source  is  unknown.  "Shakspeare  may  have  taken  it 
from  The  True  Tragedie  of  Richard  Duke  of  Yorke,  where 
Edward  exclaims  to  Clarence,  *  Et  tu,  Brute,  wilt  thou 
stab  Caesar  too? '"  [Clar.] 

III.  i.  80.  Common  pulpits.  Those  in  the  Forum,  from 
which  orators  addressed  the  people. 

III.  i.  91.     Nor  .  .  .  no.    See  Introduction,  p.  39,  (5.)  (a). 

III.  i.  94.    Abide.    Answer  for. 

III.  i.  95.    But  we.    See  Introduction,  p.  37,  (3.)  (a). 

III.  i.  100.  Stand  upon.  Concern  themselves  with,  put 
stress  upon. 

III.  i.  101,  2.  The  Folios  give  the  speech  to  Casca,  but 
most  editors  agree  in  assigning  it  to  Cassius,  with  whose 
stoicism  it  is  in  accord. 

III.  i.  115.  Pompey's  "basis.  On  the  base  of  Pompey's 
statue.  Cf.  note  on  III.  i.  12. 

III.  i.  120.     See  Introduction,  p.  39,  (4.)  (e). 

III.  i.  121.     Most  bolde**     «*e  Introduction,  p.  37,  (2.). 

III.  i.  131.     Resolved.     Informed. 

III.  i.  136.  Thorough.  The  Shaksperean  spelling  of 
"  through "  when  dissyllabic.  Untrod  state.  The  unex- 
plored road  on  which  we  have  entered. 

III.  i.  140.  So  please  him  come.  If  it  be  so  that  it  please 
him  to  come.  Cf.  Cymbeline,  IV.  ii.  394,  u  So  please  you  en» 
tertain  me." 

III.  i.  142.     Presently.    Cf.  III.  i.  28  and  note. 

III.  i.  143.  "  I  know  that  he  will  be  a  good  friend  to  our 
cause." 


178  NOTES. 

III.  i.  145,  46.  My  misgiving,  etc.  My  fears  u&aally  turn 
out  to  be  only  too  well  founded.  Shrewdly  is  originally 
"  wickedly,"  but  here  it  is  merely  intensive. 

III.  i.  152.  Be  let  blood.  Be  bled,  i.e.,  die.  Rank.  Too 
full-blooded,  therefore,  "  to  be  bled."  There  may  also  be 
suggested  the  sense  of  "  too  nourishing,"  "  increasing  in 
power  too  rapidly.'* 

III.  i.  157.  Bear  me  hard.  Bear  me  a  grudge.  Cf.  i.  U. 
324,  II.  i.  215,  and  notes. 

HI.  i.  160.    Apt.    Fit,  ready. 

III.  i.  161.    Mean.    Shakspere  uses  "  means  '*  also. 

III.  i.  162.  By  .  .  .  by.  Note  the  play  upon  the  two  uses 
of  by,  (1)  of  place,  (2)  of  agent. 

III.  i.  171.    Fire  .  .  .  fire.    The  first  fire  is  dissyllabic. 

III.  i.  174.  In  strength  of  malice.  This  passage  has  been 
suspected,  and  for  malice  editors  have  substituted  "  wel- 
come," "  amity,"  etc.  But  the  phrase  is  parallel  to  the 
previous  admissions  of  Brutus  implied  in  "  bloody  and 
cruel  "and  to  the  contrast  drawn  above  between  their  hands 
and  their  hearts.  The  general  sense  is,  "  Our  arms,  though 
their  strength  has  just  been  manifested  in  what  seems 
malice,  and  our  hearts  in  genuine  brotherly  affection,  do 
receive  you." 

III.  i.  177.     Voice.    Often  used  in  sense  of  "vote." 

III.  i.  191.  Credit.  The  way  in  which  I  am  to  be  esti- 
mated, my  repute. 

III.  i.  192.    Conceit.    Conceive  of. 

III.  i.  196.  Dearer.  More  intensely.  This  intensive  use 
of  "dear"  is  frequent  in  Shakspere.  Cf.  Hamlet,  IV.  iii. 
43,  "We  dearly  grieve";  Richard  II.,  I.  iii.  151,  "The 
dateless  limit  of  thy  dear  exile,"  where  "dear"  means 
"keenly  felt."  The  general  idea  in  Shakspere's  use  of  the 
word  is  "coming  home  to  one." 

III.  i.  202.  Close.  Agree.  The  literal  sense  is  paralleled 
?a  the  phrase,  "  to  conclude  an  agreement." 

III.  i.  204.    Bay'd.    B /ought  to  bay. 

III.  i.  206.  Sign'd  in  thy  spoil.  Bearing  the  marks  of  thy 
destruction.  For  this  use  of  signed,  cf.  Henry  VIII.,  II.  iv. 
108,  "  you  sign  your  place  and  calling."  For  spo#=ruin,  cf. 
1  Henry  JV.»  III.  iii.  11,  "Company,  villainous  company. 


NOTES.  179 

hath  been  the  spoil  of  me."  Lethe.  This  is  an  unsolved  puz- 
zle. Some  have  avoided  the  difficulty  by  reading  "death.' 
Elsewhere  (2  Henry  IV.,  V.  ii.  72,  Twelfth  Night,  IV.  i.  66; 
Shakspere  uses  "  Lethe  "  correctly  as  the  name  of  the  river 
of  oblivion,  and  White  interprets  the  present  passage  thuSt 
"crimsoned  in  the  stream  which  bears  thee  to  oblivion." 
Others  have  supposed  it  to  be  from  the  Latin  letuw,  death, 
the  "  h  "  being  due  to  confusion  with  Z,et7ie,  as  it  is  in 
the  improper  form  let/mm  and  in  the  English  adjective 
lethal. 

III.  i.  207,  8.  Hart  .  .  .  heart.  This  pun  occurs  also  in  Af 
You  Like  It,  III,  ii,  260,  and  Twelfth  Night,  IV.  i,  63. 

III.  i.  209.    Strucken.    See  Introduction,  p.  39  (4.)  (c). 

III.  i.  213.    Modesty.    Moderation. 

III.  i.  216.  PricWd.  Marked:  from  the  custom  of  marking 
off  names  by  pricking  them  with  a  metal  point  instead  of 
a  pen. 

III.  i.  217.  Shall  we  on.  See  Introduction,  p.  39  (4.)  (e) 
and  cf.  ver.  236  and  291,  below. 

III.  L  224.  Full  of  good  regard.  "  Capable  of  being  placed 
en  a  favorable  light."  ^Clar.j 

III.  i.  228.  Produce.  Exhibit.  The  use  of  to  instead  of 
"  in  "  is  probably  due  to  a  recollection  of  the  use  of  the  LatiD 
-oroduco  in  the  sense  of  "  bring  forward." 

III.  i.  230.  Order  of  hU  funeral.  Course  of  his  funeral 
ceremonies. 

III.  i.  242.     Wrong.    Harm. 

III.  i.  243.    Fall.    Befall,  happen. 

III.  i.  268.  For  this  use  of  with  for  "  by  "  cf.  I.  iii.  83  and 
note. 

III.  i.  271.    Ate.    The  Greek  goddess  of  vengeance. 
.    III.  i.  273.    Havoc.     Said  to  be   a   cry  in    battle  which 
meant  that  no  quarter  was  to  be  given.    Let  slip.    I.e.,  from 
the  leash. 

III.  i.  283.    Passion.    Grief.    Cf .  I.  ii.  40  and  note. 

III.  i.  289.    Rome.     For  the  pun,  cf.  I.  ii.  156. 

III.  i.  294.    Issue.    Result  of  the  action. 

III.  ii.  This  scene  contains  in  the  oration  of  Antony  the 
force  which  sets  in  motion  the  return  action  of  the  drama, 
hitherto,  the  conspirators  have  carried  everything  before 


180  NOTES. 

them.    In  the  rest  of  the  play  we  see  Caesar's  spirit  accom 
plishing  its  revenge. 

III.  ii.  13-70.  Cf.  Plut.,  p.  120.  "  When  the  people  saw 
him  in  the  pulpit,  although  they  were  a  multitude  of  rake- 
hels  of  all  sorts,  and  had  a  good  will  to  make  some  stir;  yet, 
being  ashamed  to  do  it,  for  the  reverence  they  bare  unto 
Brutus,  they  kept  silence  to  hear  what  he  would  say. 
When  Brutus  began  to  speak,  they  gave  him  quiet  audience ; 
howbeit,  immediately  after,  they  shewed  that  they  were 
not  all  contented  with  the  murther."  Shakspere  may  have 
taken  the  hint  for  the  style  of  this  speech  by  Brutus  from 
the  following:  "  But  for  the  Greek  tongue,  they  do  note  in 
some  of  his  epistles,  that  he  counterfeited  that  brief  com- 
pendious manner  of  speech  of  the  Lacedaemonians."  Pluto, 
p.  107. 

IILii.  14.  Lovers.  Friends.  Cf.  II.  iii.  9,  and  ver.  54, 
below. 

III.  ii.  18.     Censure.    Judge. 

III.  ii.  31, 32.  There  is  tears.  See  Introduction,  p.  38, 
(4.)  (a). 

Ill  ii.  36.    Rude.    Barbarous. 

IH.  ii.  45.    Extenuated.    Made  little  of. 

III.  ii.  47.    Enforced.    Exaggerated. 

III.  ii.  59,  60.  Note  the  dramatic  contrast  in  these  two 
exclamations.  The  Second  Citizen  remembers  that  Brutus 
is  of  a  family  already  famous  for  its  hatred  of  tyrants:  the 
Third  Citizen  fails  entirely  to  seize  the  point  either  of  the 
murder  or  of  Brutus's  defense  of  it,  and  is  ready  to  transfer 
his  allegiance  from  one  Caesar  to  another.  The  whole 
political  moral  of  the  drama,  the  hopelessness  of  destroying 
tyranny  while  the  people  are  willing  to  be  tyrannized  over, 
is  implied  in  this  cry,  "  Let  him  be  Caesar. " 

III.  ii.  66.     Grace.    Honor. 

III.  ii.  67.     Tending  to.    Cf.  I.  ii.  329,  and  note. 

III.  ii.  70.  Save  I.  See  Introduction,  p.  37,  (3.)  (a).  Spoke. 
See  Introduction,  p.  39,  (4.)  (c). 

III.  ii.  74.  Beholding.  An  incorrect  form  of  beholden, 
4*  under  obligation." 

III.  ii.  82  ff.  Cf.  Plut.,  p.  121 :  "Afterwards,  when  Caesar^s 
body  was  brought  into  the  market  place,  Antonius  making 


NOTES  18 J 

his  funeral  oration  in  praise  of  the  dead,  according  to  the 
ancient  custom  of  Rome,  and  perceiving  that  his  words 
moved  the  common  people  to  compassion,  he  framed  his  elo- 
quence to  make  their  hearts  yearn  the  more;  and  taking 
Caesar's  gown  all  bloody  in  his  hand,  he  laid  it  open  to  the 
sight  of  them  all,  showing  what  a  number  of  cuts  and  holes 
it  had  upon  it.  Therewithal  the  people  fell  presently  into 
such  a  rage  and  mutiny,  that  there  was  no  more  order  kept 
among  the  common  people."  And  again,  p.  165:  "  Whets  he 
saw  that  the  people  were  very  glad  and  desirous  also  to  hear 
Caesar  spoken  of,  and  his  praises  uttered,  he  mingled  his 
oration  with  lamentable  words;  and  by  amplifying  of  mat- 
ters  did  greatly  move  their  hearts  and  affections  unto  pity 
and  compassion."  It  was  from  such  mere  hints  as  these  that 
Shakspere  elaborated  Antony's  speech.  Note  that  while  the 
matter-of-fact  speech  of  Brutus,  aimed  at  the  reason  of  the 
citizens,  is  in  prose,  Antony's  appeal  to  their  feelings  is  in 
verse. 

III.  ii.  83.  Bury.  Note  the  anachronism  here,  and  in  ver. 
115  below. 

III.  ii.  98.    General  coffers.    Public  treasury. 

III.  ii.  112.  To.  What  preposition  is  used  after  withhold 
in  modern  English? 

III.  ii.  115.    Coffin.    Cf.  note  on  ver.  83  above. 

III.  ii.  123.  Dear.  See  Introduction,  p.  39,  (5.)  (b)  and  cf. 
III.  i.  196,  note.  Abide.  Pay  for.  Cf.  III.  i.  95. 

III.  ii.  137  ff.    On  Caesar's  will,  cf.  Plut.,  pp.  102, 121. 

III.  ii.  142.  Napkins.  Handkerchiefs.  This  use  is  stil) 
common  in  Scotland.  Cf .  II.  ii.  88,  89,  and  note. 

III.  ii.  174.    Hearse.    Bier. 

III.  ii.  179  ft.  Mantle.  Antony's  appeal  to  the  emotions  of 
the  crowd  through  Caesar's  mantle  and  his  wounds  is  based 
upon  Plut.,  pp.  121,  22,  and  165. 

III.  ii.  182.  The  Nervii.  For  Caesar's  victory  over  "  the 
Nervians,  the  stoutest  warriors  of  all  the  Belgae,"  see 
Plut.,  p.  61. 

III.  ii.  184.  Envious.  Malicious;  Cf.  II.  i.  164,  178,  and 
lotes, 

III.  ii.  188.    Resolved.    Cf.  HI.  i.  131,  and  note. 

HI.  ii.  192.    Most  unkindest.    See  Introduction,  p  37,  (2.). 


182  NOTES. 

III.  ii.  197.  On  the  metre  of  this  line  see  Introduction* 
p.  36,  and  cf.  II.  ii.  76  and  note. 

III.  ii.  206.     With.    Cf.  I.  iii.  83,  note. 

III.  ii.  251.  Drachmas.  A  drachma  was  equal  to  about 
twenty  cents  in  nominal  value,  but  had  a  much  greater 
purchasing  power. 

III.  ii.  268.    Forms.     Benches. 

III.  ii.  275.     Upon  a  wish.    As  soon  as  wished  for. 

III.  ii.  279.    Belike.     Probably. 

III.  iii.  The  chief  function  of  this  scene  is  to  give  the 
effect  of  Antony's  speech  by  a  picture  of  the  wild  passion  it 
has  stirred  up  in  the  mob.  The  episode  of  the  death  ot 
Ginna  is  from  Plut.,  pp.  102, 103,  122. 

III.  iii.  2.  Things  unluckily,  etc.  My  imagination  is  bur- 
dened with  things  that  forbode  ill-fortune. 

III.  iii.  12.     You  were  best.    It  were  best  for  you.    But  by 
the  time  of  Shakspere  the  dative  you  had  come  to  be  regarded 
as  a  nominative,  as  we  see  by  such  analogous  phrases  as 
"I  were  best  not  call,"  Cymbeline,  IIL  vi.  19. 

ACT  IV. 

In  this  act  we  see  the  two  opposing  forces  preparing  for 
the  final  struggle.  As  is  often  the  case  in  tragedy,  the 
fourth  act  is  the  least  essential  to  the  action. 

IV.  i.    The  first  scene  introduces  us  to  the  triumvirate 
who  lead  the  party  of  revenge.    Lepidus,  the  third  member 
of  the  triumvirate,  is  mentioned  only  to  be  set  aside  as  of 
no  account.     Antony  and  Octavius   plan  their  campaign 
together. 

IV.  i.  1.    Prick'd.    Cf.  III.  i.  216,  and  note. 

IV.  i.  4.  PuUius.  According  to  Plutarch,  the  person 
alluded  to  here  was  Lucius  Caesar,  Antony's  uncle, 

IV.  i.    6.    Damn.    Condemn  to  death. 

IV.  i.  12.     UnmeritaUe.     Without  merit. 

IV.  i.  16.    Voice.    Cf.  III.  i.  177,  note. 

IV.  i.  32.     Wind.    Wheel. 

IV.  i.  34.    In  some  taste.    To  some  extent,  in  a  sense. 

IV.  i.  37.  Abjects.  Things  thrown  away.  Orts.  Broken 
fragments.  This  is  Staunton's  emendation  of  the  Folio 


NOTES.  i83 

reading,  "  objects,  arts,"  which  is  retained  by  Craik  and 
others.  The  sense  is  understood  in  much  the  same  way  in 
either  case,  viz.,  that  Lepidus  takes  up  things  and  practices 
which  other  men  have  rejected  as  outworn. 

IV.  i.  38.     Staled.    Cf.  I.  ii.  73. 

IV.  i.  39.  Begin  his  fashion.  "Are  the  newest  fashion 
with  him."  [Clar.] 

IV.  i.  40.  A  property.  A  chattel,  a  piece  of  the  furniture 
on  the  stage  on  which  we  are  the  actors. 

IV.  i.  41.    Listen.    See  Introduction,  p.  39,  (6.). 

IV.  i.  44.  This  line  is  defective.  The  second  Folio  reads, 
"and  our  best  means  stretched  out." 

IV.  i.  47.    Answered.    Met. 

IV.  i.  48,  49.  At  the  stake,  etc.  The  figure  ib  from  the 
sport  of  bear-baiting,  in  which  a  bear  was  tied  to  a  stake 
and  tormented  by  dogs.  Cf.  Macbeth,  V.  vii.  1,  2: 

They  have  tied  me  to  a  stake;  I  cannot  fly, 
.But,  bear-like,  I  must  fight  the  course. 

IV.  ii.  This  scene  merely  leads  up  to  the  quarrel  in 
IV.  iii. 

IV.  ii.  6.  He  greets  me  well.  His  greeting  finds  me  in  good 
health. 

IV.  ii.  7.  In  his  own  change.  By  change  in  his  own  feel- 
Ings  towards  me.  It  has  been  proposed  to  read  "  charge  " 
for  change,  with  the  sense  of  " by  his  direct  command." 

IV.  ii.  12.  Full  of  regard.  Full  of  qualities  worthy  of 
regard. 

IV.  ii.  14.  According  to  the  punctuation  in  the  present 
text,  which  here  follows  the  first  Folio,  we  supply  **  as  to  " 
before  How.  Some  editors  put  a  colon  after  Lucilius  and  a 
comma  after  j/ou,  thus  making  "  How  he  received  you  "  the 
object  of  resolved.  For  resolved,  cf .  III.  i.  131. 

IV.  ii.  16.  Familiar  instances.  See  Introduction,  p.  37, 
ft.)  (a). 

IV.  ii.  23.    Hot  at  hand.    Restless  when  reined  in. 

IV.  ii.  26.    Fall.    Used  actively  in  the  sense  of  "  lower." 

IV.  ii.  40.    Sober.    Grave,  serious. 

IV,  ii.  41.    Content.    Self-contained,  calm. 

IV.  ii.  46.     Enlarge.    Enlarge  upon,  express  fully. 


184  NOTES. 


IV.  ii.  50-52.  Craik  emended  Lucilius  to  "  Lucius  "  in  ver. 
50,  and  Let  Lucius  to  "  Lucilius  "  in  ver.  52.  This  improves 
the  metre  in  ver.  50,  and  represents  Brutus  as  sending 
Lucius  with  the  message,  while  the  two  officers  guard  the 
door.  Note  that  it  is  Lucilius  who  is  on  guard  at  IV.  iii. 
127,  below. 

IV.  iii.  This  scene,  taken  by  itself,  is  perhaps  the  great- 
est  in  the  play.  The  human  nature  of  the  two  main  actors 
in  it  is  realized  with  an  intensity  which  Shakspere  usu- 
ally achieves  only  in  his  greatest  works.  On  the  other 
hand,  as  a  part  of  the  dramatic  action,  the  scene  is  much 
less  important.  The  division  between  the  generals  fore- 
warns us  of  disaster  to  the  army  in  battle,  but  otherwise 
the  plot  is  hardly  advanced  by  it. 

IV.  iii.  2.  Noted.  Marked  for  disgrace.  The  phrase  is 
from  Plut.,  p.  185,  "The  next  day  after,  Brutus,  upon  com- 
plaint of  the  Sardians,  did  condemn  and  note  Lucius  Pella 
for  a  defamed  person,  that  had  been  a  Praetor  of  the  Ro- 
mans, and  whom  Brutus  had  given  charge  unto:  for  that  he 
was  accused  and  convicted  of  robbery  and  pilfery  in  his 
office.  This  judgment  much  misiiked  Cassius,  because  he 
himself  had  seer  3tly  (not  many  days  before)  warned  two  of 
his  friends,  attainted  and  convicted  of  the  like  offences,  and 
openly  had  cleared  them." 

IV.  iii.  5.  Were.  The  first  Folio  reads  "  was."  Slighted 
off.  Set  aside  without  consideration. 

IV.  iii.  8.  Nice.  Foolish,  trivial.  His.  See  Introduction, 
p.  37,  (3.)  (b),  and  cf,  ver.  16,  below. 

IV.  iii.  10.  To  have.  For  having.  Itching.  Covetous,  as 
implied  in  next  line. 

IV.  iii.  13.    Speaks.    See  Introduction,  p.  38,  (4.)  (a). 

IV.  iii.  23.  How  does  this  statement  agree  with  the  rea 
sons  given  by  Brutus  before  the  assassination? 

IV.  iii.  28.  Bait.  Many  editors  change  this  to  "bay," 
but  the  change  is  not  necessary. 

IVc  iii.  30.  Hedge  me  in.  Hamper  me  (by  criticising  and 
interfering  with  my  actions). 

IV.  iii.  32.  Conditions.  I.e.,  under  which  a  campaign 
should  be  conducted. 

IV.  iii.  45.    Observe.    Pay  observance  or  reverence. 


NOTES.  j!85 

IV.  iii.  47.  Spleen.  The  spleen  was  considered  the  seat  of 
the  passions. 

IV.  iii.  73.    Drachmas.    Cf.  III.  ii.  251  and  note. 

IV.  iii.  75.  Indirection.  Methods  that  are  not  straight- 
forward. 

IV.  iii.  80.  Rascal.  Despicable.  Counters.  Used  con- 
temptuously for  "  coins.'* 

IV.  iii.  88.  "  Brutus  does  not  mean  to  admit  that  he  is 
exaggerating,  but  only  that  he  calls  attention  to  the  faults 
of  Cassius  when  they  are  practiced  upon  himself."  [Clar.] 

IV.  iii.  102.  Plutu8\  The  Folios  read  "  Pluto's,"  but  the 
god  of  wealth  is  obviously  meant. 

IV.  iii.  109.  Shall  be  humour.  Shall  be  regarded  as  merely 
caprice.  Cf.  II.  i.  250,  note,  and  IV.  iii.  120, 136. 

IV.  iii.  110.    Are  yoked  with.    Have  the  same  disposition  as. 

IV.  iii.  115.  Ill-tempered.  With  the  humors  badly  tem- 
pered or  mixed.  Cf.  II.  i.  250,  note. 

IV.  iii.  129  ff.  Cf.  Plut.,  p.  134.  "This  Phaonius  at  that 
time,  in  despite  of  the  door-keepers,  came  into  the  chamber, 
and  with  a  certain  scoffing  and  mocking  gesture,  which  he 
counterfeited  of  purpose,  he  rehearsed  the  verses  which  old 
Nestor  said  in  Homer: 

My  lords,  I  pray  you  hearken  both  to  me, 
For  I  have  seen  mo  years  than  suchie  three. 

Cassius  fell  a-laughing  at  him,  but  Brutus  thrust  him  out  of 
the  chamber,  and  called  him  dog,  and  counterfeit  Cynic." 

IV.  iii.  137.  Jigging.  "  Jig"  was  used  of  a  song  as  well  as 
oi^the  tune  and  the  dance  which  accompanied  it. 

IV.  iii.  138.  Companion.  Used  contemptuously  as  we 
often  use  " fellow." 

IV.  iii.  152,  53.  Upon.  What  preposition  would  be  used 
here  in  modern  English?  Cf.  ver.  144,  above.  Impatient .  .  . 
grief.  Two  constructions  are  confused  here,  but  the  sense 
is  clear.  The  grammatical  looseness  of  the  whole  passage* 
marks  Brutus's  strong  emotion. 

IV.  iii.  166.    Call  in  question.    Discuss. 

IV.  iii.  184.    Nor  nothing.    See  Introduction,  p.  39,  (5.)  (a), 

IV.  iii.  191.  Why  does  Brutus  here  seem  to  pretend  to 
hear  for  the  first  time  of  Portia's  death? 


186  NOTES. 

IV.  iii.  195,  96.  Cassius  means  that  he  also  holds  the  Stoic 
doctrines,  but  he  cannot  so  naturally  put  them  in  practice. 

IV.  iii.  198.    Presently.    At  once.    Cf .  III.  i.  28,  143. 

IV.  iii.  202.     Offence.     Harm. 

IV.  iii.  214.  Under  your  pardon.  What  is  the  modern 
idiom? 

IV.  iii.  225.  Twice  before  the  opinion  of  Brutus  had  pre- 
vailed over  that  of  Cassius— in  letting  Antony  survive 
Caesar,  and  in  allowing  him  to  address  the  people.  In  each 
case  the  result  was  disastrous. 

IV.  iii.  226.    Along.    See  Introduction,  p.  39,  (4.)  (e). 

IV.  iii.  229.    Niggard.     Supply  "  sparingly." 

IV.  iii.  231.    Hence.    See  Introduction,  p.  39,  (4.)  (e). 

IV.  iii.  242.  Knave.  Used  in  the  literal  sense  of  u  boy" 
without  any  bad  meaning.  Cf .  ver.  270,  below.  Overwatched. 
Tired  out  with  watching. 

IV.  iii.  276.  The  presence  of  a  ghost  was  supposed  to 
make  the  lights  burn  blue. 

IV.  iii.  279.     Upon.    Towards.    See  Introduction,  pp.  32, 83. 

IV.  iii.  281.    Stare.    Bristle. 

IV.  iii.  292.    False.    Out  of  tune. 

IV.  iii.  308.    Set  on.    Cause  to  advance. 

ACT  V. 

Here  the  return  action,  which  was  begun  with  Antony's 
speech  in  the  third  act,  culminates  in  the  catastrophe  of  the 
deaths  of  the  greatest  of  the  conspirators  and  the  overthrow 
of  their  army. 

V.  i.  3.    Regions.    A  trisyllable.    See  Introduction,  p.  36. 
V.  i.  4.    Battles.    Battalions.    Cf .  ver.  16,  below,  and  'V. 

iii.  108. 

V.  i.  5.     Warn.    Challenge,  summon  to  fight. 

V.  i.  7.    Am  in  their  bosoms.    Know  their  intentions. 

V.  i.  10.  With  fearful  bravery.  Wright  and  others  take 
this  to  mean  "  with  terrible  display,  thinking  to  intimidate 
by  ostentation. "  But  the  common  Shaksperean  use  of  fearful 
in  the  sense  of  "timorous  "  seems  to  suit  the  context  better. 

V.  i.  14.  Bloody  sign.  Cf.  Plut.,  p.  139,  "  The  next  morn- 
ing1, by  break  of  day,  the  signal  of  battle  was  set  out  in 


NOTES.  187 

Brutus'  and  Cassius'  camp,  which  was  an  arming  scarlet 
coat," 

V.  i.  17, 18.  This  discussion  about  the  leadership  of  the 
right  and  left  wings  is  narrated  by  Plutarch  (p.  140)  of 
Brutus  and  Cassius,  but  is  transferred  by  Shakspere  to 
Octavius  and  Antony. 

V.  i.  19.    Exigent.    Exigency,  critical  moment. 

V.  i.  24,  25.  We  will  answer  .  .  .  foi-th.  We  will  meet  them 
when  they  charge.  Go  forward. 

V.  i.  33.    Are.    See  Introduction,  p.  39,  (4.)  (b). 

V.  i.  34.  Hybla.  A  town  in  Sicily  noted  for  its  honey. 
The  bees  fed  on  the  thyme  which  grew  on  the  surrounding 
hills. 

V.  i.  52.     Up.    Into  the  sheath. 

V.  i.  55.  Have  added  another  to  the  list  of  those  slain  by 
the  sword  of  traitors. 

V.  i.  59.    Strain.    Family,  race. 

V.  i.  60.    Honourable.    See  Introduction,  p.  39,  (5.)  (bx 

V.  i.  61.  Peevish.  Childish.  Octavius  was  only  t\v  j- 
one. 

V.  i.  62.  On  Antony's  reputation  for  gaiety  cf.  I.  ii.  2U; 
U.  i.  188,  89;  II.  ii.  116. 

V.  i.  66.  Stomachs.  Hearts,  courage.  Cf.  Henry  V.,  IV. 
Ui.  35,  36,  "He  which  hath  no  stomach  to  this  fight,  Let  him 
depart." 

V.  i.  72.  As.  This  word  is  often  redundant  in  Shakspere 
Cf.  Romeo  and  Juliet,  V.  iii.  247,  "  That  he  should  hither 
come  as  this  dire  night." 

V.  i.  77.  Held  Epicurus  strong.  Held  strongly  the  doc- 
trines of  Epicurus,  and  so  was  skeptical  about  omens  and 
the  like.  Cf.  Pint.,  pp.  100,  136. 

V.  i.  80.  Former.  First.  Cf.  the  phrase  occurring  in  ear- 
lier writers  (e.g.,  Mandeville  and  More)  "our  former  father 
Adam,"  and  Chaucer's  "Former  Age." 

V.  i.  92.     Constantly.    Cf .  II.  i.  299,  III.  i.  22,  and  notes. 

V.  i.  95.    Lovers.    Cf.  III.  ii.  14,  note. 

V.  i.  97.     With.    About. 

V.  i.  101  ff.  Brutus  answers  that  he  has  determined  to  act 
by  the  rule  by  which  he  blamed  Cato's  suicide,  i.e.,  as  he 
says  after  the  parenthesis,  I  know  .  .  .  of  life,  he  intend* 


188  NOTES. 

to  await  the  will  oi*  heaven.  The  ideas  thus  expressed 
are  inconsistent  with  Brutus's  next  speech.  One  may  sup- 
pose that  the  suggestion  of  the  humiliation  of  a  triumph 
changes  his  resolution.  But  Wright  has  pointed  out  that 
in  the  first  speech  Shakspere  was  misled  by  the  bad  punc- 
tuation of  the  corresponding  passage  in  North's  Plutarch 
(p.  140).  According  to  the  Greek  text  of  Plutarch,  Brutus 
admits  that  as  a  young  man  he  blamed  Cato ;  but  that  now, 
in  the  midst  of  danger,  he  is  of  a  different  opinion. 

V.  i.  105.     Prevent.    Anticipate. 

V.  i.  106.     Time.    Period,  limit. 

V.  i.  109.     Triumph.    Cf.  I.  i.  36-50,  note. 

V.  i.  110.     Thorough.    Cf.  III.  i.  137,  note. 

V.  ii.  1.    Bills.    Dispatches. 

V.  Hi.  4.  It.  The  ensign  or  standard.  In  the  previous 
line,  ensign,  is  used  for  "standard-bearer,"  but  in  V.  i.  80 
«°  here  for  "  standard." 

iii.  18.     Fond.    Cf.  I.  ii.  194,  note. 

ii.  19.     With  a  thought.     Cf.    "Upon  a  wish,"  III.  ii.  275 
anr  note. 

V.  iii.  25.    Compass.    Circular  course. 

V.  iii.  38.  Saving  of  thy  life.  Two  interpretations  are  pos- 
sible: (1)  " When  I  saved  thy  life" ;  (2)  "Except  for  risking 
thy  life,  thou  shouldst  attempt,  etc."  The  former  is  that 
usually  accepted,  and  seems  to  fit  the  context  better. 

V.  iii.  41,  42.  Cf.  Plut.,  p.  103,  "  For  he  [Cassias],  being 
overcome  in  battle  at  the  journey  of  Philippes,  slew  himself 
with  the  same  sword  with  the  which  he  strake  Caesar.'* 
Search.  Probe,  pierce. 

V.  iii.  51.  Change.  Exchange ;  gain  and  loss  on  one  side 
corresponding  to  loss  and  gain  on  the  other. 

V.  iii.  65,  66.    Success.    Good  success.    Cf .  II.  ii.  6  and  note. 

V.  iii.  68.    Apt.    Receptive. 

V.  iii.  96.  Proper.  Merely  repeats  and  emphasizes 
"own." 

V.  iii.  101.    Moe.    Cf.  II.  i.  72,  note. 

V.  iii.  104.  Thasos.  An  island  off  the  coast  of  Thrace. 
Cf.  Plut.,  p.  144,  "So  when  he  was  come  thither,  after  he  had 
lamented  the  death  of  Cassius,  calling  him  the  last  of  all  the 
Romans,  being  unpossible  that  Rorm  should  ever  breed 


NOTES.  189 

again  so  noble  and  valiant  a  man  as  he,  he  caused  his  body 
to  be  buried,  and  sent  it  to  the  city  of  Thassos,  fearing  lest 
his  funerals  within  his  camp  should  cause  great  disorder." 

V.  iii.  108.    Battles.    Cf.  V.  i.  4,  note. 

V.  iii.  110.  Second  fight.  This  second  battle  was  in  fact 
twenty  days  later. 

V.  v.  2.  Torch-light.  Cf.  Plut.,  p.  150,  "Furthermore, 
Brutus  thought  that  there  was  no  great  number  of  men 
slain  in  battle:  and  to  know  the  truth  of  it,  there  was  one 
called  Statilius,  that  promised  to  go  through  his  enemies, 
for  otherwise  it  was  impossible  to  go  see  their  camp :  and 
from  thence,  if  all  were  well,  that  he  would  lift  up  a  torch- 
light in  the  air,  and  then  return  again  with  speed  to  him. 
The  torch  light  was  lift  up  as  he  had  promised,  for  Statilius 
went  thither.  Now  Brutus  seeing  Statilius  tarry  long  after 
that,  and  that  he  came  not  again,  he  said,  'If  Statilius  be 
alive,  he  will  come  again.'  But  his  evil  fortune  was  such 
that,  as  he  came  back,  he  lighted  in  his  enemies'  hands  and 
was  slain." 

V.  v.  27.  That  our  love.  Cf.  the  modern  idiom  "  that  love 
Of  ours." 

V.  v.  28.  It.  Note  that  the  antecedent  of  it  is  the  first 
part  of  the  compound  "  sword-hilts." 

V.  v.  45.    Respect.    Cf.  I.  ii.  59. 

V.  v.  46.    Smatch.    Smack. 

V.  v.  60.    Entertain.    Take  into  my  service. 

V.  v.  62.  Prefer.  Sometimes  used  by  Shakspere  in  the 
sense  of  "  recommend,"  but  here  rather  "  hand  over." 

V.  v.  69.    Save  only  he.    See  Introduction,  p.  37,  (3.)  (a). 

V.  v,  71,  72.  In  a  general  ...  to  all.  With  general  honor- 
able intentions  and  for  the  sake  of  the  common  good  of  all 
This  free  use  of  prepositions  has  been  frequently  exempli 
fied  throughout  the  play.  See  Word  Index  for  instances. 

V.  v.  It  is  important  to  notice  the  stress  laid  by  Sbaks- 
pere  on  the  testimony  borne  by  the  enemies  of  Brutus  to  the 
latter 's  honorable  character.  A  mistake  in  judgment  led 
him  to  the  assassination  of  Caesar,  and  the  inevitable  Nem- 
esis followed  in  the  form  of  physical  disaster.  But  there 
was  no  stain  on  his  conscience,  and  there  is  no  moral  catas- 
trophe as  in  Maabeth. 


WOKD  INDEX. 


Abide,  III.  i.  94;  III.  ii.  123. 

abjects,  IV  i.  37. 

abuse,  II.  i.  18. 

addressed,  lll.i.290 

affections,  II.  i.  20. 

against,  I.  iii.  20. 

aim,  I.  ii.  163. 

alchemy,  I.  iii.  159. 

an,  I.ii.  273. 

answer,  I.  iii.  114;  V.  i.  24. 

answered,  IV.  i.  47. 

Antony's  reputation,  V.  i.  C2.    Cf. 

I.  ii.  204;  II.  i.  188-9;  II.  ii.  116. 
apparent,  .II.  i.  198. 
apprehensive,  III.  i.  67. 
apt,  II.  ii.  97;  III.  i.  160;  V.  iii.  68. 
are,  II.  ii.  46 ;  V.  i.  33. 
arrive,  I.  ii.  110. 
as,  V.  i.  72. 
Ate,  III.  i.  271. 
away,  III.  i.  119. 
awl,  I.  i.  18, 25. 

Bait,  IV.  iii.  28. 

basis,  III.  i.  115. 

bastardy,  II.  i.  138. 

battles,  V.  i.  4, 16;  V.  iii,  10a 

bay'd,  III.  i.  204. 

be  you  one,  I.  ii.  44. 

bear  ...  a  hand,  I.  ii.  35. 

bear  .  .  .  hard,  I.  ii.  324;  It,  i.  215; 

III.  i.  157. 
bears,  II.  i.  205. 
begin  his  fashion,  IV.  i.  5*9 
behaviours,  I.  ii.  42. 
beholding,  III.  ii.7,4. 
belike,  III.  ii.  279. 
bend,  I.  ii.  123. 
bills,  V.  ii.  1. 
bird  of  night,  I.  ia  26. 


bosoms,  V.  i.  7. 

break  with,  II.  i.  150. 

brother  Cassius,  II.  i.  70. 

brought,  I.  iii.  1. 

Brutus   (Lucius  Junius),  I.  Ii.  ld$ 

Brutus  on  suicide,  V.  i.  101. 

Brutus,  thou  sleep'st,  II.  i.  4& 

bury,  III.ii.83. 

but,  I.ii.  177;  I. iii.  144;  III.  i.  95 

by  ...  by,  III.  i.  162. 

by  him,  II.  i.  218. 

Call  in  question,  IV.  iii.  16ft. 
Capitol,  III.  i.  12. 
carrions,  II.  i.  130. 
Casca,  I.  iii. 
Cato,  II.  i.  295. 
cautelous,  II.  i.  129. 
censure,  III.  ii.  18. 
ceremonies,  II.  i.  197;  II.  it  it 
ceremony,  I.  i.  69. 
chafing,  I.  ii.  101. 
change,  IV.  ii.  7;  V.  iii.  51. 
charactery,  II.  i.  308, 
charm,  II.  i.  271. 
chew,  I.ii.  171. 
clean  from,  I.  iii.  35. 
clock,  II.  i.  192. 
close,  III.  i.  202. 
closet,  II.  i.  35. 
climate,  I.  iii.  32. 
climber  upward,  II.  i.  23. 
cobbler,  I.  i.  11. 
coffin,  III.  ii.  115. 
cognizance,  II.  ii.  89. 
Colossus,  I.  ii.  136. 
colour,  I.  ii.  122;  II.  i.  29. 
come  by,  II.  i.  169: 
common  pulpits,  III.  i.  80, 
companion,  IV.  iii.  138. 
190 


WORD  INDEX. 


191 


compass,  V.  ill.  25. 
complexion,  I.  iii.  128. 
conceit,  III.  i.  192. 
conceited,  I.  iii.  162. 
condition,  II.  i.  254. 
conditions,  IV.  iii.  32. 
constancy,  II.  iv.  6. 
constant,  III.  i.  22. 
constantly,  V.  i.  92. 
content,  IV.  il.  41. 
contrive,  II.  iii.  15. 
contriver,  II.  i.  158. 
coronet,  1. 11. 240. 
coarse,  I.  ii.  1-9. 
credit,  III.  i.  191. 

Damn,  IV.  i.  6. 

deafness,  Caesar *s,  1. 11.  213. 

dear,  III.  Ii.  123. 

dear  my  lord,  II.  L  255. 

dearer,  III.  i.  196. 

death  of  Portia,  IV.  Hi.  191. 

degrees,  II.  i.  26. 

did  neigh,  II.  ii.  23. 

difference,  I.  it.  40. 

disposed,  I.  IL321. 

doublet,  I.  ii.  272. 

drachmas ,  III.  ii.  251 ;  IV .  HI.  78. 

Element,  I.  lit  128. 
enforced,  III.  ii.  47. 
enlarge,  IV.  ii.  46. 
entertain,  V.  v.  60. 
envious,  II.  i.  178;  IIL  IL  184, 
envy,  II.  1. 164. 
Epicurus,  V.  1.77. 
Erebus,  II.  i.  84. 
Et  tu,  Brute!  III.  i.  77. 
eternal,  I.  ii.  160. 
even,  II.  i.  133. 
exhalations,  II.  i.  44. 
exigent,  V.  i.  i9. 
extenuated,  III.  It  45. 
eyes,  had  his,  I.  ii.  62. 

Factious,  I.  HI.  118. 
fell,  III.  1.243;  IV.  a  28. 


falling  sickness,  I.  Ii.  119. 

false,  IV.  iii.  292. 

familiar  instances,  IV.  ii.  16. 

favour,  I.  ii  91 ;  I.  iii.  129;  II.  L  75 

fear,  II.  i.  190. 

fearful,  V.  i.  10. 

ferret  .  .  .  eyes,  I.  ii.  186. 

fever,  I.  ii.  119. 

fifteen,  II.  i.  59. 

fire,  III.  i.  171. 

fleering,  I.  iii.  117. 

flood,  I.il.  152. 

fool,  I.  Hi.  65. 

formal,  II.  i.  227. 

former,  V.  I.  80. 

forms,  III.  II.  268. 

forth,  III.  i.  119. 

fret,  II.  1. 104. 

from,  II.  I.  196. 

full  of  regard,  IV.  ii.  12. 

General,  II.  1. 12;  IIL  li.  98. 

Genius,  II.  i.  66. 

gentle,  II.  i.  171. 

glared,  I.  iii.  21. 

good  regard,  III.  i.  224. 

grace,  III.  iL  66. 

greets  me  well,  IV.  li.  6. 

growing  on,  IL  L  107. 

Hands,  I.  li.  327. 

hart,  III.  i.  207-8. 

hats,  II.  i.  73. 

have,  II.  ii.  1. 

havoc,  III.  L  273. 

heap,  I.  iii.  23. 

hearse,  III.  ii.  174. 

heart,  III.  i.  207-8. 

hearts  of  controversy,  I.  il.  1091 

heavy,  II.  i.  275. 

hedge,  IV.  iii.  30. 

hence,  IV.  iii.  231. 

his,  I.  ii.  124;  II.  1.  251;  IV/iiL  & 

hold,  my  hand,  I.  Iii.  117. 

holds  .  .  .  motion,  III.  i.  69. 

honey-heavy  dew,  II.  i.  238. 

hot  at  hand,  IV.  it,  23. 

how,  II.  i.  312. 


192 


WORD  INDEX. 


humour  (noun),  II.  i.  250;  II.  ii.  56; 

IV.iii.109. 

Humour  (verb),  I.  it.  326. 
humours,  II.  i.  262. 
Hybla,  V.  I.  34. 

Iy  I, 11. 112, 115. 
Ides,  I.  ii.  19;  II.  I.  40. 
idle,  II.  i.  117. 
Ill-tempered,  IV.  ill.  115 

impatient,  IV.  iii.  152. 
in,  I.  iii.  60:  V.  v.  71-2. 
incorporate,  I.  iii.  135. 
indifferently,  I.  ii.  87. 
indirection,  IV.  iii.  75. 
instances,  IV.  ii.  18. 
msuppressive,  II.  i.  134. 
Is  (with  plural  subject),  I.  iii.  148, 

155;  III.  ii.  31-2. 
issue,  III.  i.  294. 
it,  V.  iii.  4;  V.  v.  28. 

Jealous,  I.  11.71, 162. 
jigging,  IV.  iii.  137. 
Jonson,  III.  i.  47-8. 
just,  I.  ii.  54. 

Keep  with,  II.  1. 284. 
kind,  I.  iii.  64. 
knave,  IV.  iii.  242. 

Laugher,  I.  ii.  72. 
law  of  children,  III.  1.  39 
iet  blood,  III.  i.  152. 
lethe,  III.  i.  206. 
liable,  II.  Ii.  104. 
lief,  I.ii.95. 
limitation,  II.  1.283. 
Uon,  I.  iii.  75. 
lottery,  II.  i.  119. 
tovers,  III.  ii.  14. 
Lucius,  IV.  ii.  50-3, 
Lupercal,  I.L7L 

Main,  II.  i.  196. 
marry,  I.  ii,  230. 
me,  I.  11.271;  I.  UL  f?. 
<nean,  III.  i.  161 


mechanical,  I.  f .  I. 
merely,  I.  ii.  39 
metal,  I.  i.  65;  I.  ii,  320. 
mettle,  II.  i.  134;  IV,  il.2» 
misgiving,  III.  i.  145. 
mistook,  1. 11. 48. 
modestly,  I.  ii.  69;  III.  i.2ia 
moe,  II.  i.  72;  V  iii.  101. 
most  boldest,  III.  i.  121. 
most  unkindest,  III.  ii.  192. 
motion,  II.  i.  64. 
much,  II.  i.  188. 
music,  I.  ii.  204. 

Name,  I.  ii.  199. 

napkins,  III.  ii.  142, 

Nervii,  III.  ii.  182- 

nice,  IV.  iii.  8. 

niggard,  IV.  iiJ.  229. 

nor  ...  no,  III.  t.  91;  IV.  Ill  <&£ 

not  ...  neither,  I.  Ii.  239 

noted,  IV.  iii.  2, 

Observe,  IV.  iii.  45. 
occupation,  1.  ii.  273, 
o'erwatched,  IV.  iii.  242 
of,  II.  i/ 157. 
offence,  IV.  ill.  202, 
on,  III.  i.  217. 
ope,  I.  ii.  271. 
order,  III.  i  230. 
ordinance,  I.  iii.  $6 
orts,  IV.  i.  37, 
out,  I.i.18. 

Passion,  I.  ii.  48;  IH.  i.  2& 
path,  II.  i.  83. 
peevish,  V.  i.  61. 
physical,  II.  i.  261. 
pitch,  I.  i.  77. 
Plutus,  IV  iii.  102. 
Pompey,  I.  i.  41. 
Pompey's  porch,  I.  iii.  126 
Pompey's  theatre,  I.  iii.  18$, 
portents,  II.  ii.  24. 
Portia's  death,  IV.  iii.  i91 
practise,  IV.UL8S 


WORD  INDEX. 


its 


pray  to  move,  in.  I.  59. 

prefer,  III.  1. 28;  V.  v.  62. 

preformed,  I.  ill.  67. 

pre-ordlnance,  III.  1. 38. 

present,  II.  it  ft. 

presently,  III.  J.  28, 142;  IV.  HL  198. 

prevent,  II.  i.  28;  V.  i.  105. 

prick'd,  III.  i.  216;  IV.  i.  1. 

priests  of  Lupercus,  I.  ii.  1-9. 

proceeded,  I.  il.  181. 

proceeding,  II.  11. 103. 

produce,  III.  1.  228. 

profess,,  I.  il.  77. 

promls'd  forth,  L  il.  800. 

proof,  II.  1.21. 

proper,  I.  i.  28;  1. 11. 41;  V.  11L  98 

property,  IV.  i.  40. 

protester,  I.  IL  74, 

Publlus,  IV.  L  4. 

put  on,  I.  ill.  60;  II.  i.  225. 

Quality,  I.  111.64,68. 
quarrel,  II.  1. 28. 
quick,  I.  ii.  29,307, 

Rank,  III.  i.  152. 

rascal,  IV.  Hi.  80. 

rears,  III.  i.  30. 

recover,  1. 1.  27. 

regard,  III.  i.  224;  IV.  II.  12 

regions,  V.  L3. 

remorse,  II.  i.  19. 

repealing,  III.  i.  51. 

replication,  1.1.50. 

resolved,  III.  i.  131;    III.  ii.  188; 

IV.  11. 14. 

respect,  1. 1. 10;  I.  11.  59:  V.  v.  45, 
retentive,  I.  lit  95. 
rheumy,  II.  i.  266. 
right  form,  II.  11. 20. 
Rome,  I.  ii.  156,  III.  L  289. 
routs  L  11.78. 
rude,  III.  11.36. 

Sad,  I.  ii.  218. 

save,  HL  ii.  70;  V.  V.  6» 

saving,  V.iu.38. 


scandal,  I.  11.  76. 

scarfs,  1. 11. 295;  cf.  I.  i.  69,  not* 

search,  V.  Hi.  42. 

second  flght,  V.  111.  110. 

secret,  II.  1. 125. 

sennet,  I.  ii.  25,  stage  direction. 

served,  III.  1.  8. 

set  on,  II.  1.  331:  IV  ill.  308. 

should,  II.  ii.  42. 

shouted,  I.  ii.248 

show,  I.  ii.  34. 

shrewd,  II.  1.158. 

shrewdly,  HI.  i.  146. 

sick  offence,  II.  1. 268. 

sign'd,  III.  1.206. 

slaughter,  V.i.55. 

Blighted  off,  IV.  lit  ft 

smatch,  V.  v.  46. 

so,  1. 11.166. 

so  please  him,  III.  L  Mft 

sober,  IV.  ii.  40. 

soil,  1. 11.  42. 

soles,  I.  Lift. 

soothsayer,  I.  il.  11 

sort,  1.1.61;  II.  L  288. 

speaks,  IV.  Hi.  13. 

speed,  I.  li.  88. 

spleen,  IV.1JL47. 

spoil,  IILi.208. 

spoke,  II.  L  125. 

stake,  IV.  1.48. 

stand  upon,  III.  1. 100. 

stare,  IV.  iii.  281. 

state,  I.  iii.  71;  ILL  67. 

statue,  II.  IL  76;  III.il.  197. 

Stole,  IV.  iii.  1»5. 

stomachs,  V.  L  66. 

stood  on  ceremonies,  II.  11. 13. 

strain,  V.I.  59. 

strength  of  malice,  HL  1. 174* 

strength  of  spirit,  I.  Iii.  95 

stricken,  II.  L  192. 

strucken,  III.  1.209. 

subtle,  II.  i.  175. 

suburbs,  II.  L  285. 

success,  II.  ii  6;  V.  Hi.  65. 

supporting  robbers,  IV  ill  2& 


WORD  INDEX. 


away,  I.iii  3. 
§wayed,  II.  i.  20. 
trimming,  I.  ii.  100-115. 
gwounded,  I.  ii.  253. 

Thought,  II.  i.187. 

tardy,  I.  ii.  310. 

taste,  IV A.  34. 

teeth  of  emulation,  II.  in.  13. 

tending  to,  I.  ii.  329;  III.  ii.67, 

Thasos,  V.  iiio  104. 

that  our  love,  V.  v.  27. 

thee,  II.  i.  56. 

there's  two,  I.  ill.  138. 

these,  I.ii.  174;  I.  iii.  30. 

these  and  these,  II.  i.  31. 

thews,  I.  iii.  81. 

thorough,  III.  i.  136;  V.I  110. 

thunder-stone,  I.  iil.  49 

time  of  life,  V.  i.  106 

tinctures,  II.  li.ay 

to,  III.  iL  112. 

to  friend.  Ill  i  «.4c 

to  have,  XV   m.  *0. 

torch-light,  V    v.  2» 

triumph,  i.i.  35-55    ''    ,  tot* 

ti  opines,  £.  i.  7& 

CJnbraced,  I  iii.  48    LI.  i.  262. 

under  your  pardon,  IV.  iii.  214. 

undergo,  1.  iii.  123. 

unicorns, -II.  1.204. 

unluckily,  III.  iil.  2. 

unmeritable,  IV.  i.  12. 

up,  V.  i.  52. 

upon*  IV.  Hi.  152 

upon  a  wlsh9  IB  ii  m 


upon  me,  IV.  iii.  279. 
use  (noun),  II.  ii.  25. 
use  (verb),  I.  ii.  72. 

Voice,  III.  1.177;  IV.tlfc 
vouchsafe,  II  i.  313, 
vulgar,  I.  i.  74. 

Wafture,  II.  t  34tt 
walls,  L  ii.  155. 
warn,  V  i-  5. 
watch.  Tt.  a  16- 
we  have,  i.  iL  'ti&l 
weighing^  Ii.  *,  -08. 
I  well-given,  I  ft  iyj 
what,  II.  i.  i 
what  night,  «..  iii.  4x 
when^  <I.  L  \,  note;  'IL  t  i 
vrner^.  i  t>  59, 
^iitttxier   i. ..  j& 
whiles,  L  ii  209. 
who,  I.  iii.  21. 
whom,  II.  i.  331. 
why,  I.  iii.  63-4. 
wind,  IV.  i.  32. 
with,   I.  iii.  12,  83;    III.  I    42,  268 

III.  ii.206;  V.i.  97. 
with  a  thought,  V.iii.  19. 
woe  the  while,  I.  iii.  82 
wonderful,  I.  iii.  14. 
wrong,  III.  i.  242. 

Yearns,  II.  ii.  129. 
yoked,  IV.  iii.  110. 
yond,  I.  iL  194. 
yon  were  best,  III.  iii.  12, 


APPENDIX 


APPENDIX 

(Adapted  largely  from   the    Teacher's  Manual  for  the 
Study  of  English  Classics,  by  George  L.  Marsh) 

HELPS  TO  STUDY 
THE  DRAMA 

In  what  did  the  drama  originate? 

Describe  briefly  the  miracle  plays,  or  l  '  mysteries, " 
telling  where  they  were  performed,  by  whom,  and  what, 
in  general,  was  their  subject  matter  (pp.  12,  13). 

What  elements  were  contained  in  the  miracle  plays  that 
had  an  influence  toward  the  development  of  comedy? 

What  were  moralities?    Interludes! 

What  foreign  influences  contributed  to  the  development 
of  the  Elizabethan  drama  (pp.  15,  16)  ? 

Name  several  of  Shakspere  's  predecessors  in  the  drama. 
Who  was  the  greatest  of  them? 

Describe  briefly  the  theater  of  Shakspere 's  day  (pp. 
22,  23).  The  characteristics  of  a  Shaksperean  audience. 
Did  Shakspere  write  his  plays  for  posterity  or  to  please 
un  Elizabethan  audience? 

SHAKSPERE 's  CAREER 

When  and  where  was  Shakspere  born? 

What  can  you  say  as  to  his  education  (p.  18)  ?  His 
occupations  before  he  went  to  London? 

What  do  we  know  about  his  early  years  in  London? 

What  were  his  first  dramatic  efforts  (p.  20)  ?  What 
other  literary  work,  besides  the  writing  of  plays,  did 
he  do? 

Learn  the  general  characteristics  of  Shakspere 's  work 
during  each  of  the  four  periods  into  which  it  is  divided, 
197 


198  APPENDIX 

and  the   names   of  representative   plays   of  each  period 
(pp.  24-27). 

Perry  Pictures  73-75  have  to  do  with  Shakspere  and 
his  home. 

JULIUS  CAESAR — EXTERNAL  FACTS 

What  is  the  probable  date  of  composition  of  Julius 
Caesar?  Its  chronological  relation  to  the  series  of  Shak- 
spere's  greatest  tragedies?  When  was  it  first  published? 

What  is  the  source  of  its  plot?  Describe  Shakspere ;s 
general  method  in  handling  this  source  (pp.  31-33). 

PROGRESS  OF  THE  PLOT 

What  is  the  dramatic  purpose  of  I,  i  (note,  p.  159)  ? 

In  I,  ii,  what  is  the  effect  of  the  soothsayer's  warning? 

What  is  the  purpose  and  effect  of  the  flourishes  and 
shouts  while  Brutus  and  Cassius  are  speaking? 

What  does  Antony 's  appearance  at  the  beginning  of  the 
scene  indicate  as  to  his  importance  in  the  play  ? 

Is  Cassius  supposed  to  hear  Caesar's  remarks  about 
him  (11.  192  ff.)  ?  How  should  the  characters  be  ar- 
ranged on  the  stage  at  this  time? 

State  in  outline  what  is  accomplished  in  I,  iii. 

What  is  the  dramatic  purpose  and  effect  of  the  por- 
tents? 

In  II,  i,  what  is  the  purpose  of  lines  101-11  (note,  p. 
170)? 

Whose  judgment  is  better  as  to  Antony,  Cassius 's  or 
Brutus 's  (p.  77)?  What  later  conflict  of  judgment 
resembles  this  (III,  i,  232)  ? 

Why  is  it  intimated  in  lines  193,  194,  that  Caesar  may 
not  come  to  the  Capitol  on  the  Ides  of  March? 

In  II,  ii,  why  is  a  second  account  of  the  prodigies 
given  ? 


APPENDIX  199 

What  striking  bit  of  dramatic  irony  and  blindness  is 
there  near  the  end  of  this  scene? 

What  is  the  effect  on  an  auditor  of  Caesar 's  attitude 
toward  the  conspirators? 

What  is  the  dramatic  effect  of  II,  iii  (note,  p.  175;  ? 

What  two  purposes  does  II,  iv,  serve? 

For  III,  i,  plan  an  arrangement  of  characters  on  the 
stage  (up  to  the  assassination)  and  decide  what  persons 
are  addressed  in  the  different  short  speeches  at  the  be- 
ginning (pp.  94,  95). 

Are  the  speeches  of  Cassius  and  Brutus  (11.  111-16) 
natural  at  that  time?  Why  did  Shakspere  write  them? 

In  III,  ii,  what  does  Brutus  try  to  do  in  his  speech? 

Point  out  the  main  divisions  of  Antony's  speech,  show- 
ing what  he  accomplishes  in  each. 

When  does  his  voice  first  become  sarcastic  in  referring 
to  the  conspirators  as  "  honorable  men  I" 

How  are  we  prepared  before  this  scene  for  the  elo- 
quence he  shows  here? 

Describe  Antony 's  course  with  regard  to  Caesar 's  will. 
Was  it  more  effective  than  if  he  had  read  the  will  di- 
rectly ? 

From  this  scene  what  do  you  decide  as  to  Shakspere 's 
opinion  of  the  common  people? 

What  purpose  can  you  assign  for  III,  iii  (note,  p. 
182)? 

What  is  the  purpose  of  IV,  i?    Of  IV,  ii? 

How  is  the  plot  advanced  by  the  trouble  between  Brutus 
and  Cassius  in  IV,  iii?  State  clearly  the  reasons  for  the 
trouble  and  the  reasons  for  the  reconciliation. 

Is  Cassius  convinced  by  Brutus 's  reasons  for  meeting 
their  opponents  at  Philippi?  Why  does  he  yield? 

What  dramatic  device  in  this  scene  shows  that  Caesar 's 
spirit  dominates  the  action  which  is  to  result  in  the  fall 
of  the  conspirators? 


200  APPENDIX 

In  V,  i,  what  does  the  first  speech  of  Octavius  indicate 
as  to  the  wisdom  of  Brutus 's  decision  in  the  previous 
scene  ? 

Trace  as  clearly  as  possible  the  progress  of  the  battle 
through  this  act. 

Is  there  any  point  where  the  play  could  very  well  end 
before  it  does? 

THE  PLOT  AS  A  WHOLE 

What  incident  begins  the  real  complication  of  the  play  ? 
How  does  Shakspere  point  out  this  incident? 

What  incident  (in  this  case  a  speech)  begins  the  resolu- 
tion of  the  play — marks  the  beginning  of  the  fall  of  the 
conspirators? 

Is  that  part  of  the  play  which  precedes  the  speech  of 
Antony,  or  that  which  follows  it,  the  more  interesting? 

What  are  the  real  causes  of  Caesar's  downfall?  Of 
Brutus 's? 

Criticize  or  justify  the  naming  of  the  play. 

What  dramatic  use  is  made  of  the  supernatural? 

Point  out  examples  of  dramatic  irony  and  dramatic 
blindness. 

THE  CHARACTERS 

Perry  Pictures  1190,  1191,  1265,  are  of  personages  of 
this  play. 

What  characteristics  of  Brutus  and  Cassius  respectively 
are  shown  in  I,  ii?_ 

What  idea  do  you  get  of  Casca? 

What  attitude  of  Brutus  toward  Caesar  is  indicated 
in  II,  i? 

What  is  indicated  as  to  Brutus 's  character  in  his  rela- 
tions with  his  servant  and  his  wife?  Is  Brutus 's  action 
when  he  hears  of  the  death  of  his  wife  unfeeling?  How 
can  you  account  for  it? 


APPENDIX  201 

Describe  the  character  of  Portia.  Contrast  the  rela- 
tions of  Brutus  and  Portia  with  those  of  Caesar  and  Cal- 
purnia. 

Point  out  the  various  ways  in  which  the  character  of 
Caesar  is  belittled.  Does  this  belittlement  indicate  Shak- 
spere's  real  attitude  toward  Caesar,  or  is.  there  a  dramatic 
purpose  in  it? 

What  indication  do  we  find  as  to  Cicero  *s  character 
in  II,  i? 

Is  there  any  truth  in  Antony's  characterization  of  him- 
self (III,  ii,  225*  ff.)  ?  Does  he  mean  it  to  be  taken  as 
true? 

Which  appears  to  greater  advantage  in  the  quarrel  of 
Brutus  and  Cassius? 

How  is  Cassius 's  superiority  to  Brutus  as  a  man  of  af- 
fairs shown  in  the  play? 

What  groups  of  characters  are  there? 

What  character  do  you  find  who  is  portrayed  chiefly 
by  the  influence  which  he  exerts  on  others? 

THE  FORM  OF  THE  PLAY 

What  is  the  regular  meter  of  Julius  Caesar? 

Find  examples  for  yourself  of  each  of  the  variations 
described  on  pages  34-36. 

In  what  places  do  you  find  rhyme  used? 

In  I,  i,  why  do  the  tribunes  speak  in  verse,  the  com- 
moners in  prose?  Why  does  Casca  speak  in  prose  in  I,  ii; 
in  verse  in  I,  iii?  In  III,  ii,  why  does  Brutus  speak  in 
prose,  Antony  in  verse? 

THEME   SUBJECTS 

1.  Shakspere 's  life   (pp.  17-28). 

2.  The  drama  before  Shakspere  (pp.  9-17). 

3.  The  stage  of  Shakspere 's  time   (pp.  22-24;   with 


202  APPENDIX 

illustration  of  how  different  parts  of  this  play  were  pre- 
sumably staged). 

4.  The  true  history  at  the  basis  of  Julius  Caesar. 

5.  Julius   Caesar   and  its   direct   source    (pp.   31-33, 
40-42,  and  various  passages  in  the  notes). 

6.  Shakspere's   opinion   of   the   common  people    (as 
illustrated  in  his  treatment  of  the  mob  in  this  play;  cf. 
Coriolanus  and  II  Henry  VI). 

7.  Defense  or  criticism  of  the  treatment  of  Caesar 9s 
character   in   this  play.      (See  pp.   173,   174.) 

8.  The  use  of  prodigies  and  portents  (p.  63,  etc.;  cf. 
the  strange  happenings  on  the  night  of  Duncan's  murder 
in   Macbeth). 

9.  The  treatment  of  Cicero  in  this  play.     (Why  is  so 
inadequate  a  notion  of  his  greatness  given?     Compare 
f,he  treatment  of  Caesar  himself.) 

K).     A  contrast  of  Brutus  and  Cassius: 

(a)  As  patriots. 

(b)  As  political  and  military  leaders. 

(c)  As  men. 

11.  Brutus  in  his  domestic  relations  (pp.  80-83,  etc.). 

12.  Character   sketches   of   Casca,    Calpurnia,   Portia, 
A.ntony. 

13.  Comparison  of  the  Antony  of  this  play  with  Shak- 
spere's  latter  portrait  of  him  in  Antony  and  Cleopatra, 

14.  Paraphrases  of  Antony's  funeral  oration,  and  the 
quarrel  scene    (pp.   110-18,  125-31). 

15.  The  staging  of  the  ghost  scene  (p.  139). 

16.  The  uses  of  verse  and  prose  in  this  play. 

17.  Narrative  themes  on  the  following  subjects: 

The  trouble  between  Caesar  and  Pompey  (men- 
tioned on  p.  47). 

The  offering  of  the  crown  to  Caesar  (pp.  58-60). 


APPENDIX  203 

The  origin  and  progress  of  the  conspiracy 
against  Caesar  (pp.  51  ff.,  70  ff.,  etc.). 

The  events  of  the  Ides  of  March  (pp.  84  ff.). 

What  happened  just  after  the  murder  of  Caesar 
(pp.  98-107)  f 

Caesar's  funeral  (pp.  108-19).  ' 

The  quarrel  of  Brutus  and  Cassius  (pp.  125-31). 

The  Battle  of  Philippi. 

The  story  of  Portia.  (Elaborate  from  hints  on 
p.  133,  and  previously.) 

18.     Why  the  conspiracy  failed. 

SELECTIONS  FOB  CLASS  BEADING 

Passages  particularly  worth  reading  aloud  or  acting  in 
the  classroom  are  as  follows : 

1.  The    tribune's    rebuke    of    the    commoners    (pp. 
46-48). 

2.  Cassius  sounds  Brutus   (pp.  50-56). 

3.  Caesar's  opinion  of  Cassius  and  of  Antony   (pp. 
57,  58). 

4.  Casca  on  the  offer  of  the  crown  (pp.  58-61). 

5.  Casca  and  Cassius  on  the  prodigies  (pp.  62-68). 

6.  Brutus  muses  over  the  conspiracy  (pp.  70-74). 

7.  The  conspiracy  is  completed  (pp.  75-80). 

8.  Brutus  and  Portia  (pp.  80-83). 

9.  The  assassination  of  Caesar  (pp.  94-98). 

10.  Antony  and  the  conspirators  (pp.  100-106). 

11.  Brutus  to  the  citizens  (pp.  108-10). 

12.  Antony  and  the  mob  (pp.  110-18). 

13.  The  quarrel  of  Brutus  and  Cassius   (pp.  125-31). 

14.  Brutus  on  the  night  before  Philippi   (pp.  136-40). 

15.  Misgivings  before  the  battle  (-pp.  144-46). 

16.  The  death  of  Cassius  (pp.  148,  149,  152). 

17.  The  death  of  Brutus  (pp.  154-58). 


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